I was the oldest of the children in my family. I had to do a lot of diaper-changing and lunch-making. I was taking my little sister to ballet, picking up my brother, sort of being a super-nanny.
I don’t think a lot of actors talk about it, but there’s usually a process where you essentially purge yourself of the character that you played prior to the movie.
I am flattered that they think that many people would enjoy my work. I don’t approach any genre a different way than I may approach another one. I treat every role I do like a role worthy of applying whatever kind of tactic, process and talent I have.
When you come onto the set, everything should be focused around your character and you should stay in the pocket, as much as possible. Every actor has their own process. For me, I really need to stay in the pocket.
It would be flattering to call it a modern Dirty Harry, but I think this film deals more with the loss of his wife than the traditional revenge vigilante films.
I enjoy playing a quintessential antihero. There’s something therapeutic about playing such characters. I know it sounds corny but I feel like I learn about myself when I play that characters.
Filmmaking is such a collaborative piece of art that you can’t look to one person – you couldn’t look to me, you couldn’t say, ‘Because Vin’s in it, it’s this or that.’ It’s really all of us coming together for that period of time to try and make magic.
I can’t go white, Indian, Asian, Latin. For me, in my existence, if I’m anything, I’m inclusive of everyone, and we are just one, and I hope that global harmony is in all of us.
The thing that stood out above and beyond all the experiences was this relationship with the nine-month-old baby. On weekends, I’d be thinking about going back to set on Monday just to see the baby.
I’m a fantasy guy. So I brought the fantasy element to the Riddick, David Twohy brought the sci-fi, and it came together.You see that in every aspect of the film.
