There's really nothing but one audition for a Disney Channel movie that separates me from 2,000 other brown-haired, blue-eyed guys in L.A., you know?
I can tell you, if you shoot in the rain you're going to have a lot of voice ADR to do after the movie and voice looping, stuff like that.
I did this movie with Spike Lee called 'Sucker Free City,' and that would have to be my favorite role by far. It was just so much fun to work with Spike and shoot in San Francisco.
I knew her work very well and I knew that if she offered me a role in her movie, it wouldn't be something stupid. So I agreed to do the film before I read the script.
Planet of the Apes was a gigantic challenge, making the clothes work so people could do stunts and action in the clothes. I really learned a lot about that in that movie.
I have no regrets. I wanted to raise the kids and be a present father. When I developed a movie, I was gone for a year. That didn't really work for me. That isn't fair to make these life-forms and then disappear.
I was a big 'Blue Valentine' fan. I really loved that movie. And I thought the performances were just unbelievably real, which is certainly what I always strive for in my work.
I didn't have big movie offers, or any big agents wanting to work with me. I had to go grassroots, start at the bottom and go on 150 auditions before someone finally gave me a shot.
We started shooting, and then Jodie found out she was pregnant. Forest broke it to me - he'd gone to work and heard it on the radio! It seemed like the movie was doomed. But, like these characters, there was a disregard for all the signs along the wa...
It used to be that you could do these nuggets of a movie and it would attach itself in terms of credibility to your work and the style of work that you did, that people would be interested and curious about you and your work as an actor.
To have a song work for the movie, it can't just be written apart and shoved in. It's got to come out of the action. It's got to talk about the characters, not the story: it has to augment that action.
I remember when I got my first opportunity to work in America, I didn't speak a lot of English, so I only really knew my lines for the movie I was doing.
I don't want to be Tom Cruise. I'm not after some movie blockbuster career. That's not the kind of work I'm interested in. And frankly, it's not the kind of work I'm ever going to get.
I remember when I first started, the first movie I wrote that didn't get made I was aghast. 'Wait a minute, that's not how this is supposed to work. You write a move and it gets made!'
With me, I probably work a lot more than people assume I do, but people don't realize how much work goes into writing and producing and making a movie.
Writers have it easy. If you write a bestseller or have your book made into a movie, you'll never have to work again, or so the myth goes.
I work primarily for the camera-it's not something I really talk about a lot, but it's part of the way I am as a movie actor. The camera is my girl, as it were.
The thing I'm scared of most is not fulfilling my work. There's so much anxiety around trying to get a movie made that you don't really get to be afraid of anything else.
The roles that I feel I get, or handed to me, or whatever, are not that interesting. I don't think it's a problem that's specific to black women. I think it's a problem that's specific to movie-making in America.
The great hatred of capitalism in the hearts of the oppressed, ancient and modern, I think, stems not merely from the ensuing vast inequality in wealth, and the often unfair and arbitrary nature of who profits and who suffers, but from the silent ack...
...this woman, moved by some private sorrow as much as the words being spoken, cried almost silently, unobserved by others, apart from Mma Ramotswe, who stretched out her hand and laid it on her shoulder. , she began to whisper, but changed her words...
