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To have a song work for the movie, it can't just be written apart and shoved in. It's got to come out of the action. It's got to talk about the characters, not the story: it has to augment that action.
The moment comes when a character does or says something you hadn't thought about. At that moment he's alive and you leave it to him.
We like to think, in our anthropocentric way, that irony means that you transcended something, but actually, what it means is that you've realised that you're stuck in something, and you have this kind of uncanny awareness of that, and there's not much you can do about that feeling of stuckness.
When I play characters, I like playing people who just comment on stuff, stand around and talk.
It's weird for me to say I'm lucky when I can't go into a bookstore and have more than five choices if I want to read something about Asian-American characters.
Personally, as a print journalist, I always found the most interesting stories to be the ones hacks talked about in the bar after work.
If there is something magic about the collaborations I have with actors it's because I put the character first.
I work primarily for the camera-it's not something I really talk about a lot, but it's part of the way I am as a movie actor. The camera is my girl, as it were.
I'd like to think that the door is always open for just the best actor for the role, you know? Race or gender shouldn't have anything to do with it, unless the character or story is focused on that for some particular reason.
