I'm not really interested in playing famous people. I prefer to create characters. And I hope I have an exciting enough life that somebody might make a movie about that one day. I don't want to make movies about other people. I was once approached about playing Salvador Dali, which I thought would've been fun until I found out that he was proud of kicking a blind man across the street. So, I decided, I didn't want to play that guy. So, I think I'll just keep it the way it is.
I didn't play the Ghost Rider in the first movie. That was a stuntman. In this film, the Ghost Rider feels much more alive because I did put some thought into how he should walk and into how he should move. I was so into the character, in fact, that I would paint my face with white and black makeup to look like a skull. And I put on blacked-out contact lenses, so I almost looked like an Afro-New Orleanian voodoo icon by the name of Baron Samedi. Oh man, I would walk around the set without saying a word to anybody, and I could see the fear in my co-stars' and co-directors' eyes.
When you're playing a spirit from another dimension, you really can do anything and get as abstract as you want and still have a context that will work within the movie. I wanted Ghost Rider to move in a way where it would be like a bad dream. I thought about cobra snakes, and the way that they will show you their backs and sway in a rhythmic motion and almost lull you to sleep before suddenly attacking. Well, I put that into the movie. And I decided to move my head in the jerky way a praying mantis does. So, I did all these things to give the movie a feeling of otherness.
I certainly would never overstep my bounds and make suggestions to a director. As an actor I'm trying to fit to the best of my abilities within the director's vision, and trying to find some happy rapport where we can both bring something to it that's fresh. Usually I've been lucky in working with directors who have trusted my instincts.
I like being at that place where you can either fall or stand. That's where I think you really have a shot at doing something truthful.
I don't know why it is, but I do like dancing in the extreme situations. I like that noise, I like that intensity. For some reason, it's what I respond to in terms of my taste and of my instincts.
My direction as a person working in film has been to never get comfortable with anything I was doing. At the time that I decided to do action films, people were telling me, "Well, you can't do it. You're not that type. It's not going to work." And so obviously that made me think, "Well, that's not comfortable. Maybe I should try it. What can I do with it?" So I did that, and I'm glad I did it. I'll probably do it again, and I did other kinds of things that seemed like challenges for me, because I like being on the high wire.
I try to keep my characters raising more questions than giving answers. I don't want to leave too much on the table. I want you to have your connection and your secret understanding of the character.
I never say never, but I haven't been given the quality of script to compel me to go on television.
Halloween has always been fascinating to me from a very young age. I think any actor would be fascinated by Halloween because it's one of the only holidays that advocates dressing up in makeup and costumes and transforming oneself.
I think on some level, all of us have a little bit of belief in the possibility of different energies and forces and things like that. Otherwise, we wouldn't be afraid of them. Or there wouldn't be so many movies about them.
I would say that I'm 98 percent skeptical, but the other 2 percent [is] open for the possibility of things.
Actors work with their look. I come from the Lon Chaney Sr. school of acting. I'll wear wigs, I'll wear nose pieces, I'll wear green contact lenses in my eyes. I'll do whatever I need to do to create a character.
When you're playing supernatural characters, there's an infinite number of possibilities with a character. And I also think they're wonderful and entertaining for the whole family. You don't have a high body count.
God bless the popcorn film. Especially movies where you can take the kids, because I remember looking forward to seeing these movies with my parents, and if I can give that back, I'm gonna do it.
I came out of independent film, that's my roots. I used my independent film as a laboratory, and used what I could discover in that laboratory.
These so called Popcorn movies, or family movies, actually provide something quite beautiful and something quite necessary, which is a family bonding experience.
Sometimes I do love to rehearse, but I always switch it up depending on whom I'm working with.
My best takes are my first two takes.
I just want to keep making movies that hopefully makes some kids smile.
I've always believed that the greatest actors are the ones that have the voices that are imitable.
Nobody can make a movie as exciting as Jerry Bruckheimer. When it's a Jerry Bruckheimer movie that it's going to have lots of chrome and gloss, it's going to be sexy, and it's going to be big and fun.
I love working with younger actors because they always come into the game full of energy and ideas that challenge me and keep me learning and stimulated.
I actually enjoy working with green screen, because I can imagine all that stuff happening, and I really cut my teeth on a movie I made called "Adaptation" where I had to imagine four-page dialogue scenes with my twin brother, who was nothing more than a tennis ball and a gas stand.
I do understand sometimes when actors say there's no one to talk to, or you can't react to, there's truth in that, but for me, I've always enjoyed green screen, and blue screen.
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