Stage acting is for me the basic form of acting. If you make films all the time, you have so few possibilities to rehearse. And it's important to rehearse, because it gives you the possibility to try things which are not good!
Ever since I've left, I've been doing nothing but this film and traveling, promoting and doing festivals. So the good thing is that I'm not sitting around pining over whether I made the right choice in leaving. I'm moving and grooving.
A film is sort of binary - it either works or it doesn't work. It has nothing to do with how good a job you do. If you bring it up to an adequate level where the audience goes with the movie, then it works, that is all.
The world looks at China as a big place with a lot of people, a good place to make money. And because so many Chinese families send their kids abroad to study, they are familiar with foreign cultures, so Hollywood films are very successful in China.
I don't want people to go to a film of mine because they feel guilty, like, 'I have to support it because there's black folks in there.' I want them to go because it's a good movie.
They're all based on factual characters. Well, a good amount of them. That's why I was attracted to this genre anyways, because these characters are so large and cartoonish, they're like caricatures, I just felt that there had to be a film made about...
In documentary films, you're a storyteller using found objects. You still have to have a story arc and all the elements that make a good story. It really helped me mature as a storyteller.
When the script for 'The Wrestler' kept coming to me I said, This movie is so good if you put me in the film as a wrestler people are going to say, 'No credibility, Hulk Hogan isn't a good actor,' whatever Hollywood thinks of me.
Celebrity is absolutely preposterous. Entertainment seems to be inflating. It used to be the punctuation to your life, a film or a novel or a play, a way of celebrating a good week or month. Now it feels as if it's all punctuation.
I've done a few studio films in the last few years where I feel like I've done good work, and then I only end up in two scenes. That's been very disappointing.
I've done both theatre and film and the fact is if you start believing, if you start reading things and they're good reviews - you believe that and you're lost, and then you read bad reviews and you think that's true and you read that and you're lost...
But John Landis wrote a good relationship which is really what the film's about. A very straightforward young woman who's very sure of herself and she meets a young man who needs some taking care of.
My preference is for good writing. It doesn't matter if it's for film or TV. Whatever. It starts with the writing. Even though I've had problems with writers, it doesn't matter how great of an actor you are. If the writing is bad, you're going to str...
Not to be narcissistic, but I truly believe in order to make yourself better, you should see what you did before and what was good about that and what wasn't - same way a football team plays a game and then they go back and watch film.
When I see great film, I have this feeling of 'Oh, wow! Wasn't that great? Wasn't that good?' I want to do something. I want to scream and go out there and participate and embrace life.
I don't have any great detail or logic or exact point that I look for in a film. It's just if I get a good sense from it and I feel that there is something interesting that we may be able to do with it, then I just kind of go for it.
The first few films I made didn't look good at all, and I wasn't trying to make them look good. People dig 'em because they like the content.
Your personal life is something that's gonna last forever, and your career in stage, film, television, whatever, is not necessarily going to do that, so to keep the two separate's a very good thing.
There's always a question of duration, there's a question of who the orchestra is. No one is free to write what you want - you collaborate on a film score, and one of the good things is that someone else's work is motivating you.
At the beginning, Edo was a photographer, and I was more of a talent scout and doing styling and modelling. Then all of a sudden, in 1977, he gave me a Polaroid camera, and I discovered that instead of having to go to a lab and develop the film, I co...
I don't think Hollywood makes many good films anymore. How many directors can you really trust to have an artistic vision, not a corporate vision or a watered-down communal one?
