A Quote by Dane DeHaan
I think that when you're playing someone who does really questionable or even really terrible things in a movie, it's important to show where that person is coming from. They're doing it from a necessary impulse. There is a struggle that's going on within them as a human.
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The person is a mystery. What I'm playing is the person so I really get to tell you and show you and communicate to you who I think the real person is and that real person is me. The most important thing is to play the human being you are creating, which is my job.
There are things that I really find important, and that we need to remind ourselves of. When you think about disability, do you really think about it? Someone who's a full-time trainer or a boxer, someone who's got a major disability, but who doesn't let that get in his way, that's a really good message for someone who is able-bodied. It can make them think, 'Wow, I suppose I could be doing better for myself.'
When you go from movie to movie, it's like going from family to family. You work with people for really intense hours on really long days and a bond happens. So even when a movie is terrible, you love it.
I'm really not one to brag, but I think my job is one of the most important things someone can do with their life. I mean, it really gives people a chance to live outside their means through someone else's vision. And I think that's something really great that I can give back to the community. Sure I could be a doctor or a lawyer, but do they really help anyone? Sure you can save someone's life, but can you really change it for the better? I'm not saying their jobs aren't important, just not as important as mine.
It doesn't matter if you're doing a studio movie or you're doing an independent movie. When you get to set and you're doing a scene, it's always going to be the same job. I really don't think about my career, in terms of planning it out and what this does for me.
It's true: a lot of sportspeople really struggle to find something to do when they finish. It tips them into all sorts of strange things. With ex-footballers, it's really scary. I think 70% of them get divorced within five years. It's hard. You go from being really famous to not that famous. Your salary drops through the floor.
I always have an idea before we even start the movie because if you hire the wrong person, within a couple of days you're going to know that and you're going to be really panicked.
I feel like it's really important to support people who are coming up and really talented, who need someone to show people that they're cool and talented and doing something different. And I can help do that. It's cool.
With a living person you're always burdened with this idea of fair representation, treading this fine line between honoring the person, and yet you really look at the word "honor," it implies that you then have to address struggle and hardship and failure, and all these things that it means to be human, that you show the fullness of their life. If the person's living, they are able to interject.
I'm a person who really likes to understand motives - the inner motives and the inner personalities of persons. Why do people do some things? How do they deal with themselves while doing them? Definitely one of the most interesting parts of doing interviews and creating the movie was going into those persona issues in each one of them.
When you're playing a spirit from another dimension, you really can do anything and get as abstract as you want and still have a context that will work within the movie. I wanted Ghost Rider to move in a way where it would be like a bad dream. I thought about cobra snakes, and the way that they will show you their backs and sway in a rhythmic motion and almost lull you to sleep before suddenly attacking. Well, I put that into the movie. And I decided to move my head in the jerky way a praying mantis does. So, I did all these things to give the movie a feeling of otherness.
Artists use frauds to make human beings seem more wonderful than they really are. Dancers show us human beings who move much more gracefully than human beings really move. Films and books and plays show us people talking much more entertainingly than people really talk, make paltry human enterprises seem important. Singers and musicians show us human beings making sounds far more lovely than human beings really make. Architects give us temples in which something marvelous is obviously going on. Actually, practically nothing is going on.
So, it was really important that I go do the necessary research. In doing the research, I spent time with a lot of medics and women down at Fort Bliss. I went through an intensive medical course there, with other medics. And then, I really sat down with all of the women that had been deployed, or were getting ready to deploy again. The common thread for them was family, and what a struggle it was for them to come home and face their children and flip a switch.
Sometimes, his methods and his motives are questionable and even his morals are questionable in the way he does things. But I think his intention is always to protect his daughter.
What I would say to young women is: Pay attention to the real. Pay attention to what you're really thirsting for. What do you really want? And I think that's much harder to decipher in a culture that has no interest in it. What interests me is, are we going to wake in time? Are human beings going to wake up to ourselves, to the incredible poverty that's on this planet, to what we're doing to the earth, to what we're doing to women, to what we're doing to boys? That's what's important.
I don't want to get too much into my personal relationships but I will say I am actually doing the single thing right now. I want someone that I can have fun with and laugh with. I love to laugh and I'm really sarcastic, so it's important that she can take a joke. I think if you are going to be with someone for a while you really need someone you can let loose with and let go of all the stress of the day.
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