Zitat des Tages von Vin Diesel:
The man who raised me is black. Culturally, he made me who I am. He was a theatre director, so he also guided me artistically.
The whole year I was in LA I got into telemarketing and learned how to make money. Five years later that skill helped me make my first film.
I love what I do.
It's hard for me to talk about Dom right now because I am Dom right now. So it's a really strange exercise to try to reflect on something that I am at the moment. But I guarantee you that when I'm done with the movie and you ask me that question, I'll be able to give you something insightful.
I try to create an environment where, when we step onto the set, we're all in character.
I drive a Yukon Flex Fuel, and there's baby seats in the back.
A transvestite spends her entire life trying to look as feminine as possible and I have clearly spent mine celebrating my masculinity.
I shaved my head about 15 years ago and the first time I shaved it, I started running my hand through my hair and it was very therapeutic.
You live these three months in this reality, in this dark reality. You don't want to do those films every year because they're taxing. I started smoking a lot of cigarettes.
I talk too much.
A day with my kids is the best day.
The video game culture was an important thing to keep alive in the film because we're in a new era right now. The idea that kids can play video games like Grand Theft Auto or any video game is amazing. The video games are one step before a whole other virtual universe.
You know when something feels so good but you're afraid to feel good about it? So you kinda hold back? Everyone says, Congratulations, you must be so happy. And you say something stupid like, I'm just doing what little I can with what little I have.
I am definitely a person of color.
When you go to the movies with your whole family, it's a different experience. For some reason, it's something that you're all doing together and you take away something special in that.
If you're the type of person who has to fulfill your dreams, you've gotta be resourceful to make sure you can do it. I came out to California when I was 21, thinking my New York credentials would take me all the way. I came back home a year later all dejected and a failure.
The second I walk onto the set and I know that there's a camera and I know that there's a David Twohy behind that camera, there is zero pressure. There is just me jumping into a pool called 'Riddick.' It's the most free I am. It's like channeling something.
It would be flattering to call it a modern Dirty Harry, but I think this film deals more with the loss of his wife than the traditional revenge vigilante films.
If you take my performance or my understanding of the role and my appreciation for story and then dress it in CGI, that I guess becomes an action film.
For the 'Riddick' character, I try to get as ruthless as possible, and I want to be a machine.
I was raised in New York City and raised in the New York City theater world. My father was a theater director and an acting teacher, and it was not uncommon for me to have long discussions about the method and what the various different processes were to finding a character and exploring character and realizing that character.
The idea of exploring character relations and their development over a decade has to be appealing for any actor who cherishes his craft.
The reality is that I always envisioned the 'Riddick' franchise as a continuing mythology, so I always imagined that there would be many other films to follow.
When I first did 'The Fast and the Furious', I didn't want there to be a sequel on the first one. I thought, 'Why would you rush to do a sequel - just because your first film is successful?'
My gut feeling about sequels is that they should be premeditated: You should try to write a trilogy first or at least sketch out a trilogy if you have any faith in your film.
My mother gave me this book called Feature Films at Used Car Prices by a guy named Rick Schmidt. I gotta credit the guy, cuz he gave me the most practical advice. It empowers you.
It's like you have a child and you think, 'Everything that I've done up until this point is insignificant in comparison to being a father.' It's a beautiful, beautiful thing.
Deal-making goes on with any job.
I am flattered that they think that many people would enjoy my work. I don't approach any genre a different way than I may approach another one. I treat every role I do like a role worthy of applying whatever kind of tactic, process and talent I have.
I'm not really afraid of the dark, except if I'm walking. The thing that scares me the most is the possibility of walking into a wall and busting my lip.
The films that I do are deep, introspective, brooding roles that you're in this heavy headspace all the time.
I think a few pictures at a time.
Obviously, for me, story is first and foremost, even in the face of the attractive idea of having all the cast there, or having a great piece of talent come to it.
The thing that stood out above and beyond all the experiences was this relationship with the nine-month-old baby. On weekends, I'd be thinking about going back to set on Monday just to see the baby.
My mother is the most supportive mother in the world, she's magical.
I haven't had that many weird encounters with fans, thank God.