Of course, I don’t act in an extreme fashion in my day to day life. I don’t think any of us live do. I think we all have that reserve somewhere and we pull upon it when we need it.
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 live my life a quarter mile at a time. Nothing else matters: not the mortgage, not the store, not my team and all their bullshit. For those ten seconds or less, I’m free.
I would love to do more science fiction. I always envisioned the Riddick franchise as a continuing mythology, so I always imagined that there would be many other films to follow.
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 grew up in an artists community in New York, in a building that was government-subsidised for artists. No one made any money, but they made art for the sake of art.
When I’m writing, I’m locking myself in a room. I’m the worst critic in the world. I write something and then I beat myself up. I’m like “Vin, you’re retarded, that makes no sense.”
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.
