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.
My gut feeling about sequels is that they should be premeditated: You should try to write a trilogy first or at least sketch out a trilogy if you have any faith in your film.
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.
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 always want another actor to shine in my scene because it makes the film stronger. I would encourage people to scene steal, because filmmaking is a collaborative effort.
My mother gave me this book called Feature Films at Used Car Prices by a guy named Rick Schmidt. I gotta credit the guy, cuz he gave me the most practical advice. It empowers you.
