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.
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.
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’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.
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.
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.
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.
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.
