A Quote by Antoine Fuqua
I'd like to think that the door is always open for just the best actor for the role, you know? Race or gender shouldn't have anything to do with it, unless the character or story is focused on that for some particular reason.
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In a certain way, sometimes it does feel like we say goodbye to a character, and we don't want to bring them back unless we have a good reason. We left the door open if we wanted to use him more. I always think it's better to leave the audience wanting more.
I'm always open to not necessarily to do leading roles because I want to do roles that are the best, character role. And sometimes, it's not going to be a leading role. It's going to be a smaller, supporting role. So really, I'm open to doing anything.
For me, it's nice to have a character who can never find love and have that be the running theme, but I think when you open the door to a story line about relationships, you open the door to another realm of comedy.
For Marvel, we've never looked at any of our characters in terms of gender, race, or religion. It truly is about, who is the best character for the story? If that character happens to be a woman, fantastic.
I don't see myself as one type of actor. When you get one role, you start to get cast in that role for awhile because that's what people have seen you do, and have hopefully seen you do it successfully. And so, it becomes an easier thing to see you as, for casting directors and directors, and they start to think of you as that particular person or type of character. But, for me, I'm just an actor, first and foremost. The actors I respect are the real character actors, who are the real chameleon actors that completely change from role to role.
[And on going from character to leading actor] I don't approach anything differently; I just approach it as a character. I'm always astounded at the fact that I've ever played a leading character in anything [Laughs]. And my wife concurs with that, frankly. She always thought I would be, at best, the wacky neighbor on a sitcom, so this is all just a surprise and a joy.
But I've always felt that the less you know about an actor's personal life, the more you can get involved in the story in which he's playing a character. And I don't like to see movies where you know about everything that happens behind the scenes. I can't engage in the story if I know what's going on in the actor's head.
I think that it is too common for white feminists to say, 'We want some diversity. Come join our movement about gender, but we want you to check the class and race at the door.' And you can't undo that braid of race, class, and gender: all three intersect with each other, so it's important for more education to be done about that.
I'm an actor, so I think without a character to play, a story to tell, a song to sing... there's some suspicion that there's no 'there' there. Like, if I were to just strip down and present myself, I think I'd sort of just... disappear.
If you're a certain type of actor, then eventually stepping into a director's shoes is a natural transition. I've always been the actor who's very focused on the narrative, where my character is in the story, and how I can benefit the story. I've always had a technical aspect of what the lens is, how the camera is going to move, how I can feed the information the director applies within that move. If you're that type of actor, narrative-based, technically proficient, the next step is actually not that far.
There should always be that leeway because if you think of your character as sort of absolutely fixed, then you just try and find actors to come and do exactly that thing, then you're not gonna be working with that actor's own set of internal impulses and who they are, so the best work is always a coming together of the actor and the character.
I think you can't go into any story-breaking process thinking, 'What if they come off as unlikeable?' You just gotta break the story because if you know who your character is, the story will tell you. The story will dictate and say, "This feels off-kilter for this particular person."
I like to think of myself as a leader whose door is always open. But I recently learned that an open door isn't enough.
We just, you know, we're just sort of doing it like Bewitched, because we just think that the character of Kenny is so specific and so outrageous and so fun. And by far the hardest character to cast out of everybody to find someone who was capable of, you know, doing, you know, the comedy and just with the broadness and to be also just a really brilliant actor, you know, to do naturalism.
I don't think an actor should have any particular image, and that's the reason I would not ever take up a similar role again.
Sometimes an actor performs a character, but sometimes an actor just performs. With writing, I don't think it's performing a character, really, if the character you're performing is yourself. I don't see that as playing a role. It's just appearing in public.
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