It doesn't matter what you look like really though, it is who you are that matters of course.
I am happiest when I am working though, when I am being creative. I realized at a very young age what I loved doing. I think it is so important for people to pursue the things that they love and not give up on their dreams.
I don't really understand why I should be a role model but I know that children do look up to me, so it is my responsibility to motivate people and be inspiring. I hope that I can do that for kids.
I have never seen any of my work, I can't watch it because I am ultra critical. We all have little mannerisms that people may love about us, but can be embarrassing. Perhaps we got teased about them as kids and we may not like them ourselves. That is what it is like for me, I can't look at myself on screen even if the audience loves what I am doing.
I do hang out with girls, I do relax. But I am a hermit sometimes and get a bit too introverted, too 'Jean-Paul Sartre' and intellectual in my head. And it's like a Kafka novel in there, things get nuts. Then I have to remind myself to get out and I will go and play ice hockey with my friends.
Sometimes I don't want to go out and socialize; I just want to watch my favorite shows and comedians. But then I have to remember that it is important to participate in life if you want to portray real life on screen.
The best notes are action-based and less, I don't know, heady, theoretical, because, as actors, we're too much in our heads anyway.
I need to gain a lot more experience. I think so much of being a director, other than the technical aspect and the artistry of it, is the confidence that you are, I think in many ways, you're the captain of the ship.
I don't know, being able to work with Meth was pretty damn cool, but even that day, John, the director, gave me one of the best notes I've ever had. I walked into the scene just completely excited. I just couldn't believe I was going to work with Meth.
I don't think it's very difficult to bring a virginal, angst-ridden, hip-hop grunting white boy to the screen. Not that I have any experience with that. I don't know man. I understood where his head was at, because he was this 18-year-old cat that thought he was a man, but didn't really know what it meant to be a man.
I love the phrase, 'Somebody's going to have a good day today, so it might as well be me.' I feel like you bring everything to the character, I hope.
Every time you sort of let go of the bar, you knew someone was there to catch you, and vice versa. And, I mean, come on. It's Method Man. It's been a dream to meet him forever.
Just to be part of a process where you hit no professional speed bumps and you're just sort of going on and on. I'm surrounded by these people that are all so collaborative and all bring things of their own to the process. For them to be alive in the scenes so you don't have to worry.
Sometimes, you run into trouble as an actor when you're not working with someone who is collaborative or doesn't bring themselves to the piece, and you sort of have to start worrying about yourself and protecting what works for you in the scene. I never had to do that in this movie because it was sort of this trapeze act.
Method Man, for him to offer me the spot as the first Jewish member of the Wu Tang Clan, you know, was an honor.
I had to battle it out with all the usual suspects and whatnot and go to the callback. I was lucky that (writer-director) John (Levine) and I were sort of these two white-boy hip-hop-heads from New York. I think that alone got me in the door.
I mean, the great thing about being an actor is you can investigate parts of your brain that might have otherwise gone dormant.
There is a challenge of doing something new. Sometimes you have to suspend whether you believe in yourself doing it and just give yourself over to the idea that they believe in you.
I would love to start directing. I just hope to find the right thing and, if I was afforded the opportunity, I think it would be something great. It would be really hard, but I think it would be a great privilege.
When your body is your instrument, it needs maintenance and it needs to be held in a certain way. That's a universal thread, whether you're an athlete, a dancer, an actor or a singer. It's all about maintaining your body because that allows you to do what you do.
You can bring truth to anything, whether it's a dance movie or an incredibly poignant indie drama or a really broad comedy. As long as you show up to play, I don't think you can go wrong.
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