Vin Diesel Quotes
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I am flattered that they think that many people would enjoy my work. I don't approach any genre a different way than I may approach another one. I treat every role I do like a role worthy of applying whatever kind of tactic, process and talent I have.
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I talk too much.
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If you take my performance or my understanding of the role and my appreciation for story and then dress it in CGI, that I guess becomes an action film.
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I am truly multi-racial. I never knew my biological father. I've always had less information than I would have liked to have had. All I know from my mother is that I have connections to many different cultures.
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The idea of exploring character relations and their development over a decade has to be appealing for any actor who cherishes his craft.
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I was walking around with the babies so much that when I got to the Sidney Lumet picture, I would be on set in between takes and I'd be rocking back and forth. Just standing like this rocking back and forth, and Sidney would say, Why are you walking like that in between takes?
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If you think about my filmography, I have never done a movie that a kid could go see, except for 'Iron Giant,' and I'm not even on the screen.
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I could care less about being an action actor like Stallone or Schwarzenegger.
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The films that I do are deep, introspective, brooding roles that you're in this heavy headspace all the time.
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Most of my confidence came from being with ladies, because I certainly wasn't getting any acting jobs.
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It would be flattering to call it a modern Dirty Harry, but I think this film deals more with the loss of his wife than the traditional revenge vigilante films.
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I think a few pictures at a time.
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I grew up the son of an acting teacher, so I was kind of introduced to all of these various methods early... I've never been really good at articulating how, what that process is in the way that Stanislavsky could.
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I try to create an environment where, when we step onto the set, we're all in character.
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I don't think a lot of actors talk about it, but there's usually a process where you essentially purge yourself of the character that you played prior to the movie. That's the first thing. You want to do it.
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The thing that stood out above and beyond all the experiences was this relationship with the nine-month-old baby. On weekends, I'd be thinking about going back to set on Monday just to see the baby.
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I grew up in an artists' community in New York, in a building that was government-subsidised for artists. No one made any money, but they made art for the sake of art.
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It was interesting to do a completely fictional piece. You know, Saving Private Ryan was not a fictional piece! So the challenge was: How do you incorporate real emotions? How do you incorporate aspects that people are going to be able to identify with?