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.
You live these three months in this reality, in this dark reality, you don’t want to do those films every year because they’re taxing. I started smoking a lot of cigarettes.
Any film that you see is never just the director. If it’s a film that you love, it’s not so easy to say, “Oh it’s directed by this person – that means everything that person directs is going be wonderful.”
If I’m on set and I’m in character, I’m not thinking like a producer. If I’m on set and I’m not in character, wardrobe and make-up, and I’m just coming on set for the moments that I’m not shooting, then I’m able to be the producer.
I’m not really afraid of the dark, except if I’m walking. The thing that scares me the most is the possibility of walking into a wall and busting my lip.
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.
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 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.
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.
