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A lot of times, you do independent films for passion because you may even lose money doing one, but it doesn't matter.
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The more projects you do, the more actors you meet, the more people you meet, it's harder and harder to give your heart and your complete attention or absolute sincerity to that person.
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Because of economics, you have to feed the demographics that are buying your product. So, as Asia becomes a much more economic influence on the products that are being made from America, I think people have to be sensitive.
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When I did 'Tokyo Drift,' a lot of the philosophy that Han lived by I have actually gone through in my own life. As I got older, I realized that I really believe in those philosophies, like the importance of family.
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I've produced before, and sometimes it's by default. In the indie level, you can't just come to set and be like, 'Oh, I'm an actor.' You have to be willing to help out, make the project happen.
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My belief system is that you laugh at racism, and that's how it goes away.
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Sometimes idealism and all that make believe makes the world a better place.
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On a studio film, you don't have to worry about running out of film or messing up your costumes; you have five other sets of it. Studio films make you the most comfortable so you can just act.