A Quote by David Leitch
Friends who are directors like Jim Mangold or the Wachowskis or Zack Snyder - who, whether they know or not - have really left a mark on who I am as a director.
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The Wachowskis' use of space rivals that of musical directors like Gene Kelly and Mark Sandrich.
My character in 'Batman v Superman' isn't supposed to be Japanese, but director Zack Snyder said he'd seen me in 'Wolverine' and had to get me in the film somehow. Hearing that was like music to my ears.
I've got to say that when you're able to work with people like this, whether it's Gareth or Guillermo or Zack Snyder or Chris Nolan, it's a privilege to do this and I've never lost the awe, the awe factor of just going in and watching peoples reactions to what you've spent, in a lot of cases, years working on. That's a good way to put it, I love what I do and it's a privilege to do it.
Zack Snyder is a huge fan of 'Game of Thrones,' and I met him in the training stunt facility that I train at, and I guess he really liked me because he later called me into his office, and we talked about playing Aquaman.
A lot of the guys that work for Warners and make these big films there all come from the same film school. Like Michael Bay, Zack Snyder, Tarsem Singh - they all went to Art Center in the College of Design. And there's a certain expectation when these guys graduate.
As actors, we have the opportunity to work with many directors. Directors only work with themselves and other actors. They never know what it is like to work with another director. So that relationship that one has with a director is entirely always the king.
When you're a director, you have great respect for directors. I am really pretty loyal to any director that I am working for and I want to help them realize whatever story and mood and tone that they're trying to realize. As an actor, you really just are a cog - you are an important cog, but you are just a piece of the machine.
The massive grassroots success of movies such as Zack Snyder's Spartan gore-fest '300' demonstrates there is a vast appetite among 15-25 year olds to share in the experience of the long-dead.
I loved Zack Snyder's 'Dawn of the Dead' and '28 Days Later' and '28 Weeks Later.' I would love to be involved with a film that shows the breakdown of society and a small group of survivors in a world that has crumbled. That's something I would like to explore.
I always feel like I learn more from directors that are new, and I also am able to understand how much I really do know about filmmaking when you work with directors that maybe don't have as much experience, so you're able to sort of take the reins. I know how to do these movies, I've done so many of them and have learned from new directors who are usually willing to try new things and are more open to allowing someone like me to kind of come in and just do what I know how to do.
I like working with directors because I'm really opinionated about what things work and may not work, what audiences like and may not like, (not really) but I do have opinions about things. I like to be able to say them and then have them acted on. The director who responds to me like that, always gets my appreciation. I do appreciate it. What I find is the best directors, no matter what kind of name they have, are like that.
I was born with a stain. A mark. Like the mark of Cain. But is the mark of my father, my family. The mark of Borgia. I have tried to be other than I am. And I have failed. And If I have failed you in the process, I am truly sorry.
There's nobody who knows the left better than I know 'em. I know the left like I know every square inch of my gloriously naked body, not just the back of my hand. I know them. I know them better than they know themselves because they refuse to be honest about who they are really are and what they really believe, but I am.
But, working with directors whose history is in performance, I feel like there's a different kind of focus, as opposed to directors who are more prone to being really technically proficient or visual. I feel like there are two schools of both, and a director needs to have both.
Alejandro Amenabar is a different kind of director than I lot of the directors I've asked for. He really asks you to enter his dream as opposed to, you know, a guy like Sidney Lumet or something is going to ask you to create a character almost like a documentary. He wants you to make the people really real and he's going to capture it like a documentarian.
I've definitely had a bunch of action scripts sent to me, but again I'm a stickler for directors. If it's, like, an action flick with a great director, then it's like, 'Oh let's look at this thing,' but if it's just like a shoot-em'-up with a first time director, I don't know if that's the trajectory I want to take with what I'm doing.
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