When you're playing a spirit from another dimension, you really can do anything and get as abstract as you want and still have a context that will work within the movie. I wanted Ghost Rider to move in a way where it would be like a bad dream. I thought about cobra snakes, and the way that they will show you their backs and sway in a rhythmic motion and almost lull you to sleep before suddenly attacking. Well, I put that into the movie. And I decided to move my head in the jerky way a praying mantis does. So, I did all these things to give the movie a feeling of otherness.
One day, one of my dreams is to someday get to do Nemo in '20,000 Leagues Under the Sea.'
Actors, their greatest tool, their greatest resource is imagination. You can take things, power objects, you can recruit your dreams, you can access your memories and get there. So the idea is not to act but to just be.
I like to work with young people, because young people haven’t had their dreams kicked out of them yet. Full of confidence, and imagination, and vision, and when they score that all gets empowered.
I was very happy with Vampire's Kiss, which in my opinion was almost like an independent laboratory to start realizing some of my more expressionistic dreams with film performance. Then using what I had learned in Vampire's Kiss and putting it into a very big action movie in the form of Face/Off with John Woo. If you look at those two movies back to back, you can see where I stole from my performance in Vampire's Kiss.
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