But I think we're also just talking about the literacy of the audience. The visual literacy of the audience. They've seen so many images now, especially here in the States. There's so much to look at, to watch. So the visual storytelling literacy is harder to impress.
I have definitely been curious and involved in the process; even as a young actor. I was always looking at where the camera was, what story it was telling. And as my experience grew, I wanted to know even more.
You want to play another kind of character in another genre, and it's been something I've been trying to do if I can in the career so far, and it's something I hope to continue because it's interesting to me and you get to do different things as an actor.
I think the form, the Hollywood movie, I think the quality is obviously always going to be there and I think that the question of taste, there's always a question of taste.
I've been pleased to work with so many wonderful stars through the years. This has been an amazing journey. I hope it continues.
The whole aspect of cinema and film festivals should be a moment to come together and celebrate art and humanity. It would be a shame if there was such a divide.
I like writing songs. I like the camarderie of the and. I like touring. I love playing bass. And then there's free beer.
I've had the opportunity to work with so many great directors. Different styles, as well, like Gus Van Sant. He just does the casting and the milieu and let's you do your thing, quietly. Bertolucci, who can talk to you about your internal world in quite a creative way or just say, 'Well, put your hand over here.'
When we talk about how movies used to be made, it was over 100 years of film, literal, physical film, with emulsion, that we would expose to light and we would get pictures.
You know what, I'd done an interview show when I was like 16 or 17. One of my first jobs. I did interviews for this television show in Toronto.
Basically it starts with four months of training, just basic stretching, kicking and punching. Then you come to the choreography and getting ready to put the dance together.
I used to have nightmares that they would put 'He played Ted' on my tombstone.
I guess I'm not really involving my imagination to that of a circumstance or happening - I'm just kind of acknowledging it as an existence.
John Wick does different techniques. Everything is available to him. There isn't one way of working a weapon. I like the reload with the flick going outside. That movement of getting rid of the magazine is to go sideways with it.
One interview would lead us to another interview, which led us to another interview. We had the questions and the idea of chonicling this moment in time. But we didn't have a movie, per se. As we started interviewing people, it started to kind of define itself.
Abstract expression is so solid, so successful and recognizable, but there's a mystery about the artists that goes into it, a fetishism about the artists themselves and who they were.
I am waiting for the right story to tell. Just like 'Man of Tai Chi' just seemed to be the right story to tell. So I'm looking for that. Because I really love directing. I love developing the story. I love actors. I love the cinema of it, the way that you tell a story visually.
The anti-hero or hero usually has a journey or quest so they are interesting as you find out what's going to happen, what they are looking for. What are they trying to do? Sometimes what they do is heroic or comes with a price or sacrifice or maybe the way they do things isn't so great and that's when they become anti-heroes. But the journey of an anti-hero combined with a good story done well is always worthwhile.
I think - I don't know, maybe it's nostalgia. But the choice, losing the choice to be able to use film is going to be - it's gone. It's going to be gone.
I have a producing partner named Stephen Hamel, and we've been trying to generate material.
The serialization through the Internet or through digital portals, means of ways of communicating, and I think that's great.
I loved the material when I first read it, and the experience of making the film was a great one. So when we came around to complete the trilogy, I just signed on board without even reading the scripts because the experience of the first film was so good.
But, you know, it's still a drag to get your picture taken when you're eating a sandwich. It's a downer.
I just felt that if I went into Speed 2, I just... wouldn't have come up out of the water.
How do people relate to movies now, when they're on portable devices or streaming them? It's not as much about going to the movies. That experience has changed.
