That's what I love. I love thinking about the film, the project and committing myself as much as possible.
I can't go white, Indian, Asian, Latin. For me, in my existence, if I'm anything, I'm inclusive of everyone, and we are just one, and I hope that global harmony is in all of us.
I never think of people's nationality too much. I always look at everybody the same. It's impossible for me to just say one group of people over separate groups of people. Maybe it's because I was raised in New York City which is this melting pot. Everybody was always the same and the whole point of my whole film existence was to say that we're just one race.
In Hollywood, I think I get a bad rap for being a perfectionist. It's something that's not always welcomed in Hollywood, because you're always pushing people and you're pushing yourself to be the best that you can be.
Riddick is an antihero. He's the quintessential antihero. We all know how much I love antiheroes. It takes you 45 minutes in the movie just for Riddick to understand the word "heroism," let alone for anyone to hope that he can be heroic.
I started acting at seven years old. It took me 20 years to understand that if I was going to make my dreams a reality, I had to take the reigns. I had to learn something about being productive and being self what's the word I'm looking for? Self-sufficient, but I had to be productive at all costs and I had to make product.
I'm a fantasy guy. So I brought the fantasy element to the Riddick, David Twohy brought the sci-fi, and it came together.You see that in every aspect of the film.
The first thing that happens is the cleansing of the former character. I don't think a lot of actors talk about it, but there is usually a process where you essentially purge yourself of the character played prior to the movie. Then you want to think about what the character represents, and you write down all of the elements about this character and then take the time to find some synchronicity and start breathing the character.
I grew up the son of an acting teacher but I've never been really good at articulating what that process is. It was always a bit more internal.
Any film that you see is never just the director. If it's a film that you love, it's not so easy to say, "Oh it's directed by this person - that means everything that person directs is going be wonderful."
I always have issues. I'm a New Yorker. I always have issues with trust - you adopt it from being a New Yorker. I think trust is something that comes from the gut. I don't think it's anything specific. I don't think it's anything tangible.
I believe in paying special attention to every project that you do and supporting the projects you do.
If you believe in the project, you have to support it.
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.
I'm a perfectionist. I'm very critical, especially artistically.
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."
I'm not disciplined enough to be a writer consistently. I write when I have to.
I approach every film I do in the same way, whether it's an action film or not an action film. I guess if a certain physicality lends itself to action, but I started acting before I reached puberty. I was 7 years old when I started acting. It wasn't until I became a bouncer in New York.
To have a director that loves his actors is something that you can see in the film and in the fruits of that labor. You can see that translated in the film. When you watch this movie, you can see a director who loves his actors, and it shines through the movie, in my eyes.
The majority of the filmmaking process is in pre-production. The more you've planned out the more freedom there is on set to find new stuff, to play around, find new jokes and let the actors kind of breathe - but it needs to come from a place where it's completely structured.
I'm an actor. I can do whatever I want. As an actor, not everything has to be the most obvious choice. And sometimes, the best thing you can do is to defy expectations.
Fight sequence to me isn't just about the athleticism. It so often is about what the emotion that is behind it and how willing you are to really, really challenge that emotion or really take that emotion to that place so you're feeling a certain intensity for the whole time when you're shooting the actual physical scenes.
Nothing comes easy when I'm in character, because everything I do in character, I take seriously.
I used to do fight sequences, and I started to get self-conscious about fight sequences, because invariably the other person would get hurt, and you never want anyone to be hurt on a film, let alone you being responsible. The great thing about working with guys who have spent their life choreographing fights for wrestling is that that's what they do. That's their specialty. Their specialty is selling taking hits. Their specialty is selling explosive hits without making a contact or doing too much damage.
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.
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