I'm fairly comfortable in fight sequences and stuff like that. I've done a few of them. I'm comfortable with that sort of stuff as long as I'm reasonably fit, and it's fun to do actually. I'm like a kid in a toy shop doing that stuff.
I watch a lot of television and I watch a lot of film and I hate when you watch the action sequences - and I always tell when they use a stunt man - and then they put the actor in and you can tell these actors haven't done anything.
Sometimes making people laugh or even making them scared can be accomplished by a good opening sequence.
Because as an actor, I really feel you cannot judge a character. You have to totally commit to that character. And for me to totally commit to the character, I have to find those places where I understand the sequence of behavior.
I got a phone call from George Miller [the director] asking me to play this role. We sat down and he showed me on his computer a documentary-type montage sequence of real penguins swimming, in an Esther Williams synchronized sort of way, and doing things I have never seen them do. Then he explained his vision of the film, asked me to read the script and to voice the character. I was cast a little bit later, and he let me do the singing as well!
Want to know where the action in a culture is? Watch where new language is turning up and where the lawyers collect, usually in that sequence.
Eventually we'll be able to sequence the human genome and replicate how nature did intelligence in a carbon-based system.
Actually, there was one sequence but Liv didn't put this in but at the end of the movie, we ran out of money. Literally, ran out. And I couldn't make payroll. So I emptied all our accounts to make payroll. We were kinda like, "What do we do?" Then out of the blue, we were saved by Gucci. So it's always been like, you just gotta reach for the stars and hopefully the moon will catch you.
All my other movies have the same process. Same approach. Same amount of changes. Everything. Things being made up on the fly. Changing things around. Firing and recasting. Constantly, constantly, in chronological sequence, not really knowing how this is going to end up. That is the only dogmatic approach I take towards everything.
I like the saying: "The world is as you are." And I think films are as you are. That's why, although the frames of a film are always the same - the same number, in the same sequence, with the same sounds - every screening is different. The difference is sometimes subtle but it's there. It depends on the audience. There is a circle that goes from the audience to the film and back. Each person is looking and thinking and feeling and coming up with his or her own sense of things. And it's probably different from what I fell in love with.
What I like to do is treat words as a craftsman does his wood or stone or what-have-you, to hew, carve, mold, coil, polish, and plane them into patterns, sequences, sculptures, fugues of sound expressing some lyrical impulse, some spiritual doubt or conviction, some dimly realized truth I must try to reach and realize.
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