It's hard to act in the morning. The muse isn't even awake.
I'm not a photographer, so I didn't get into F-stops or ND filters or background, foreground, cross-light, all that stuff. But I was interested in the camera and the lenses. That's the world that I'm moving in, in terms of acting and giving a performance.
The acting experience and the collaborating and creating the world, working on the piece, they're the same joys.
Violence within the context of policing has a sense of control and power to it, whether it is dominance, getting what you want, or acting out of emotion. At the same time, it is not ultimately satisfying and [you are] trapped in the cycle.
Sometimes, with the scale of a film, it's like when I walked on the sets of "The Matrix," especially in "Reloaded," there was the city square, or in "Revolutions" with some of the machine world, you're like, "Wow, this is a big playground," which is fun to watch. But the acting experience and the collaborating and creating the world, working on the piece, they're the same joys.
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