We're always trailing, as far as the amount of roles that are written for us and the films that are being made that have black characters in them. I don't know if that's going to change. ↗
I would certainly say that films like Time Code and the Loss of Sexual Innocence were far more rewarding to me in terms of being able to move forward as a filmmaker. ↗
Obviously, I try to make the films work for an audience. That's the main point of making a film, and in retrospect, one can see that certain films, let's say Leaving Las Vegas, demonstrated its own success. ↗
It's gotten out of control. It's taking bigger and bigger names to make smaller and smaller films. I worry that important films without a big name attached won't get made at all. ↗
I don't really have much to prove. I can easily go in a comfort zone, make two films a year, hype them because I've signed them as a star, make them cheap and they will be big hits. ↗
I do it because I love acting, I love working, and whether it's radio, television, films, theater, I don't care as long as I can get out there and do it. ↗
All of a sudden, there are great Japanese films, or great Italian films, or great Australian films. It's usually because there are a number of people that cross-pollinated each other. ↗
I'm only interested in being a good actor and in being remembered for my best films, not for the way I look. But it seems inevitable in this line of work that I have to care about the way I look without getting obsessed about it. ↗
