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.
It’s like you have a child and you think, ‘Everything that I’ve done up until this point is insignificant in comparison to being a father.’ It’s a beautiful, beautiful thing.
If you take my performance or my understanding of the role and my appreciation for story and then dress it in CGI, that I guess becomes an action film.
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.
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.
