I've been online doing all kinds of research and that seems to be the constant criticism, that Aibileen's accent was just too thick. And for me, I don't want anything to distract from the character. ↗
Your internal dialogue has got to be different from what you say. And, you know, in film, hopefully that registers and speaks volumes. It's always the unspoken word and what's happening behind someone's eyes that makes it so rich. ↗
I mean, I would say I get five or six e-mails every day from people asking, "Is there going to be a Leprechaun 6?' It's probably the most asked question besides, 'Is there going to be a Willow II?' ↗
If you just did a horror tone throughout an entire movie you almost, as an audience, can get a little bit used to it. But if you're laughing one minute and, you know, somebody's doing something quite horrific the next minute, it's a little more shocking. ↗
Dealing with poetry is a daunting task, simply because the reason one does it as an editor at all is because one is constantly coming to terms with one's own understanding of how to understand the world. ↗
I was always a visual person. I could see things visually. I had a harder time with numbers and logic, and I always had more of an artistic sensibility. So that I could do. And it was something that I really loved. ↗
It was quite a ride and very conflicting for me, too - to be nominated for an Oscar, to be straight and healthy, and to be getting all these accolades while these people around me were suffering and dying from AIDS. ↗
That's always something that's really important for an actor - to find an opportunity to do a scene where there is a moment like that, where you manage to connect with everyone. ↗
