Every time I feel that I really hit critical mass and I'm in the right place is when I feel like the director and I become a third thing, and that's the character.
I don't like words coming out of a character's mouth that I adore because not only is he a little bit duplicitous but he's kind of practical in the way he thinks, and he thinks in terms of everyone's humanity and how quickly we can go against what we think we meant when we said it or what we believe or blah, blah, blah.
I never know when the seeds are being laid, I'm just like, "Wow, that's a pretty cool scene. Is that? Are we laying seeds here?"
I remember when people said, "Man, that's a powerful scene in the movie!" and I was like, "We just shot this thing before lunch, I don't know, he tears a log apart, I said some words".
I wouldn't want to see anything irreparable happen, but I also like it when seemingly irreparable thing occur and men and women find a way to move past it.
I like to be a little more difficult to nail down that that just inside myself, but when someone's motivations, even if they wind up falling in one side or the other of the debate, when they're personal and also when they're masked by something that only the audience knows is really their motivation, that to me is just what I call entertainment.
It's become this really odd thing where even some of the folks who build the things that we wear for entertainment are contacted by DARPA-esque companies who are saying, "Yeah, we're really doing that, and we want to talk to you."
I thought that the grounded-ish nature of the first Iron Man and where I think the success of it was based was I think people got excited that this was a technologically possible occurrence; and didn't Obama order an Iron Man?
You have to give people something to actually write music so that you're not just running your mouth all the time.
Whenever I watch someone doing something, even if it doesn't turn out so great, I at least admire their intentions and stuff.
You have to let go of the things that are darling to you. You have to take the focus off yourself and put it on the shape of the scene and the intention of what everyone else needs.
It was a democracy in the truest and most frustrating and most rewarding sense of the word. Anybody could come in and say, "You know, I'm just not cool with that." We'd be like, "Who's that?" "Oh, I was just cleaning the trailers." It was nuts.
Nobody learns a German aria overnight, except Jared Harris.
I think the goal is to make a well written scene seem like it's improvised and/or to come up with things that you find in the room that you couldn't have known until you get into the real situation, just try to improve things as you go along.
If you're anything like me there are days when you're convinced you know more than everyone around you. Which is often confirmed by your interactions with people.
I know if you talk faster and use more ten-dollar words than everyone around you, you convince half of them that they should shut up because you know what you're talking about.
I think paranoia goes from generation to generation. It's convenient to imagine that there's a few people controlling everything, that way it's manageable and small. But that's not life, life is messy.
I saw School of Rock, and I was like, why haven't I worked with Richard Linklater already? Then by the time I got him I was like, I'm really pissed off I feel like you owe me some retroactive swag. He gave me the 10-year anniversary "Dazed and Confused" T-shirt, which I still wear with relish.
I guess the main thing is, you unconsciously take things for granted, and you think the audience is with you, because you're with yourself.
Sometimes everything you need to know to be an actor in your mid-forties, you learn before you were 15 years old.
The audience can feel the subtleties of the characters.
I'm not a method guy. I can't be bothered to have a method. I just want to be a part of a good movie and I can't stand to be surrounded by morons.
Sometimes you're not supposed to enjoy it [acting]. You're supposed to cooperate with misery and proceed anyway. But what I do enjoy is a sense of well-being and just participating in life and life's turns.
It's weird when one movie that's connected to another doesn't reference that movie at all.
I'm not used to studios being ecstatic about we did and saying, "Please go do that again."
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