I wanted to be a martial arts film star when I was a teenager.
I was never that kid who grew up in New York and was always at the arthouse watching important films. I was the kid who grew up in the Midwest where there weren't any art films, and I watched TV. And that was really the medium that affected me and that I fell in love with.
There's a side that I want to do just like really retarded arty films … like parody, pretentious art films that kind of are supposed to have some deep meaning.
I enjoy doing martial arts films, but I like the straight stuff, too. I'd like to go back and do some Shakespeare, and maybe knock out a play or two. It's all about keeping balance.
You know, the art films would usually be more, I mean the exploitation movies would usually be more lurid, but not that much more. I mean, actually back in those days that was what foreign films had. They had sex, they were selling Laura Antonelli.
I loved the idea of the fact that the way, like I said, they colored outside of the lines. You know, there was rules that they didn't have to follow. And you got -you got - you could get more of a sensational thrill, all right, with some of these exploitation movies or art films, or you could get something you wouldn't see at the normal cineplex.
Yes, you can have art films about the triumph of the human spirit and all of that, but you'll have it done with a big-budget icon with a $20 million salary. You'll have Julia Roberts, you'll have Robert Redford, you'll have Russell Crowe doing those films, because if they're going to cost $90 million, they're going to make that movie for a public that's very large and mainstream. They're not going to make it for three or four million black people.
You see, Suzanne, history lectures bore me, art films bore me, your friends bore me, and, if you want to know the truth, I guess you bore me too.
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