Fame is drag. The paparazzi culture is more pervasive than it used to be. On the positive side, it’s nice not to have to worry about bills.
When I work on a film, you know, I try to get or inhabit the body of the character -from the vision of the directors or how i think the character should be - so if it's a film like SPEED, you hit the gym, you get to do some, train with SWAT People, hehe, but in general, I'm really focused and dedicated, and then in regular life, I don't go to the gym as often.
Sometimes when you make a film you can go away for three months and then come back and live your life. But this struck a much deeper chord. I don't have the ability yet to speak about it in an objective.
I don't know if that's philosophy or if that's something else, but to me it [digital filming] has an emotional feeling , that this materiality, the loss of the materiality.
I try not to think about my life. I have no life. I need therapy.
Here comes 40. I'm feeling my age and I've ordered the Ferrari. I'm going to get the whole mid-life crisis package.
Hallelujah! Amen! Christianity is so inherent in western story-telling, you can't really get around it. But it wasn't something that drew me to it more or less.
I mean really wonderful. In teaching. Personal epiphanies. About life. About different perspectives-help with different perspectives that you have. You know what I mean? Relationships to nature. Relationships with the self. With other people. With events.
I like meeting directors. It can be helpful because sometimes when you meet filmmakers you find out if you like them and if they like you, and that is important in terms of considering a role. Choosing a role is all about whether I relate to the role and the story really. That's the criteria.
The acting experience and the collaborating and creating the world, working on the piece, they're the same joys.
I've been really fortunate to be able to do different kinds of films in different scales, different genres, different kinds of roles, and that is important to me.
Our saving grace! Um, as a species [humans] we can be pretty warm and fuzzy. But maybe for this, it's the adaptability, or the heart and soul. We're not all that bad. I don't really know!
And of course to work with Jack Nicholson and Diane Keaton, and work with a wonderful, beautiful script directed by Nancy Meyers, it was really for me a dream come true.
On a good night, I get underwear, bras, and hotel-room keys thrown onstage... You start to think that you're Tom Jones.
I went with an exorcist for a bit. I just want to know really practical things, like how do you hold someone possessed by the devil.
It's the journey of self, I guess. You start with this kind of loner, outside guy, which a lot of people can relate to, and he goes out into the world.
When I think about him, I think about him as John and John Wick. I think of John Wick being the assassin part of John. I would say that guy has strong will; never gives up; he's kind; and there's honor about him. He's also a man of strength. There are even some vulnerabilities to him. Most importantly, he's good at his job.
But I did 'Bill & Ted's Excellent Adventure.' They made a cereal out of it, so once you've had a cereal, it doesn't get much more surreal than that. Surreal cereal.
I don't know any real jiu-jitsu or judo or anything. I do movie kung fu. With that, you can fake a punch, but you can't really fake a judo throw. You can get help from the person who you're throwing because they can kind of launch themselves.
I want to make a good, solid kung fu movie.
Sometimes, with the scale of a film, it's like when I walked on the sets of "The Matrix," especially in "Reloaded," there was the city square, or in "Revolutions" with some of the machine world, you're like, "Wow, this is a big playground," which is fun to watch. But the acting experience and the collaborating and creating the world, working on the piece, they're the same joys.
I was always interested - I mean, it's kind of part of your job - I was always interested in the camera.
The truth is often terrifying, which I think is one of the motifs of Larry and Andrew's cinema. The cost of knowledge is an important theme. In the second and third films, they explore the consequences of Neo's choice to know the truth. It's a beautiful, beautiful story.
Violence within the context of policing has a sense of control and power to it, whether it is dominance, getting what you want, or acting out of emotion. At the same time, it is not ultimately satisfying and [you are] trapped in the cycle.
I don't know the law, the kind of law of quantity and quality, but I think the opportunity of people being able to express themselves and to have the means of production is a great thing. It's also changing how we're telling stories.
