A Quote by Anton Yelchin
There are two parts of me. There's the really critical, film-nerd part of me that loves that, and then there's the part of me where I'm like, "I really didn't like that movie, but I want to work with that director because he loves actors."
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To have a director that loves his actors is something that you can see in the film and in the fruits of that labor. You can see that translated in the film. When you watch this movie, you can see a director who loves his actors, and it shines through the movie, in my eyes.
You always like to be the collaborator. I don't want to take over the movie, because if I want to do that, I should really become a director because then you have the control of everything, basically. I'm very happy to just be the visual part of it, doing the visual part of the movie.
What I consider a good part for a woman and what some other Hollywood people think are good women's parts are very different. I don't' want to play the supportive girlfriend who has nine scenes and just loves that man, maybe cheats on him in one scene but will always be there, and I mean - give me a break. You'll be offered the "lead" in this new hot film with such-and-such A-list director, "a fabulous part" - a fabulous part? A fabulous part is a character with a soul, who starts here and goes to there, you know? There aren't many of those.
Restoration I did because I really loved e novel and I like Michael Hoffman, who directed it, but it wasn't a really challenging part for me. I'm not critical of the film: I just don't think I gave a very interesting performance.
So you walk up to this man sinner and you say, "God loves you and He has a wonderful plan for your life!" and he goes, "What? God loves me? That's fantastic. I LOVE ME, TOO! And He loves me more than I love me? Well, that's hard to imagine. I'll take a God like that. You got two of them?"
Every film you work on is different, and that's part of what it's like for anybody who works on a film, is to learn how to work with others. Learn from top to bottom. Actors have to learn how to work with the director and the director has to learn how to work with actors, and that's not just those two departments.
I don't really mind not being a part of a film - because if there is no part for me, I will never force myself upon a film. I feel like it's just a distraction. If it is not organically incorporated into the story, it just feels like a stupid appearance, like a sort of wink. I hate that.
When I did Mira Nair's film on AIDS, people told me to stay away from it and even asked me reasons why I chose to do a film on the stigma. My reason for choosing the movie is similar. It is a social reality and there is no harm being a part of a movie like this as it really dissects the reality of the crisis.
Among other things, I'm thinking "I'm a child of God." That's amazing. And "I'm not only a child of God, but God loves me." The hardest part for me is to realize that while God loves me, and I am a child of God, I have to see the bigot and the brute and the rapist, and whether he or she knows it or not, I have to know that that person is a child of God. That is part of the responsibility - and it's hard.
When he says he loves me, it only means he loves me at that particular instant. Like his promises, which he never keeps. Why does he torment me like this, when he could finish it off at once?
I put a lot of effort in creating something fictional, yet very personal, because Shook is a defining part of me and my music: the Shook entity is much like the Batman or Superman comics characters. I like the idea that I can have this image that represents a part of me, but isn't really me, kind of like an alter ego.
I've ended up as a filmmaker who really loves the movie part of movies. That time in my life was a big influence on the kind of movies that I ended up making. I always think I'm going to make a movie that's gritty and real, but then I make a movie that's like an opera. I fight it at first and then that's just the way it is.
When I see 'Sunshine,' I see a film that part of me is kind of very proud of and another part of me is very sad about, so it's a really complicated film for me. And I've never been really able to resolve all that in myself.
Part of me loves and respects men so desperately, and part of me thinks they are so embarrassingly incompetent at life and in love. You have to teach them the very basics of emotional literacy. You have to teach them how to be there for you, and part of me feels tender toward them and gentle, and part of me is so afraid of them, afraid of any more violation.
I remember when I started acting and didn't get a part and was really jealous of the girl who got it. My mom would say to me, "If you don't get a part, that means it's not your part. It's just not yours. You will have your parts." It really recalibrated me at a very young age to where I could be driven because I was trying to achieve things for myself, and that had nothing to do with what anybody else was doing.
At 21 years old, I found myself in Vancouver, and that's where I got the part for my first movie. I was sitting in a restaurant, and the director came up to me and asked me to read for his film. I really took it with a grain of salt. It was the creepiest casting situation, probably. It turned out that it wasn't.
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