A Quote by Jeremy Northam
There's so much of, it could have been a very critical examination of what happened, and really the emotional lives of the people involved sort of carry the characters forward.
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It was a very, very intense and long casting process [for The Killing] because we really had to find the right people who could carry the weight of this story, who had the chops and who had the spirit, where they could bring in so much of their own selves to these characters. So, the casting process took many months.
And it's sort of an old-fashioned ER, in that it's very much about the medicine, and how these people cope. There's very little about the personal lives of the characters.
At the end of the day, most people really only want a minivan for a certain part of their lives, when they're forced to have it because they have a lot of kids they've got to carry around or whatever, so I still think that the emotional connection with the car is very important.
Fighting Bayley after winning the title at WrestleMania was perfect. I've been very fortunate to work with her. She has contributed to so much of my success. She's made me better, and I'm going to carry that forward and carry that through.
What actors are involved in is a similar sort of psychological forensic examination of the characters they're playing. You try to have an idea about why somebody does what they do and you try not to be in judgmental about it. That is what psychologists and psychotherapists aim to do with their patients.
I've been very fortunate as a composer to be involved with projects that have really propelled my scores forward. I'm very proud of it.
The movie that we could've finished in 2001 would've sucked. The movie that we could've finished in 2002 would've just been a disaster, even into 2003, it would've been very cobbled together, amateuristic stuff. But as we went along, we really did stumble upon some accidental themes, and with the things you could do with computers, and all that sort of stuff just sort of really accelerated into where the stuff that we could do right here at my house became - you could almost do anything.
Well, I think that's been my career. I always choose stuff that's the same, yet different. These projects just happened. I didn't plan it out that way. I just happened to be free, and the director, Dan Pritzker, decided to do his film again. I say again because we did it seven years ago. A lot of the actors were not available, so he just couldn't wait anymore and he recast everything. Me and two other characters are the only people involved with the new one, who were involved with the previous one.
People tend to view land art as something that happened at a certain historical moment - like minimal art, which I was also very much involved with. But it still goes on. It's very much alive.
If you look at a lot of the songs I've been involved in, there's always been this retro vibe. I started getting worried that I wasn't moving forward very much, nor was I even in tune with the music today. I almost scoffed at it.
Relationships with people in general, in no matter what capacity, are something that's very emotional. They mean a lot to you. I think having eyes on that in a critical way can be really tough.
I've been really very fortunate with the men I've been involved with. They've always really treated me very, very wonderfully. And whenever anything broke up, I was always the one to leave. So I think I've been really very, very lucky.
For me, the best characters are the ones that feel fully formed inside and out, so I try to have a very clear vision of exactly what they would wear, top to bottom, who they are, what their backstory is, what their family situation is, who are their friends, just creating as much of a three-dimensional character [as possible]. Because I think you could do a very broad character, but as long as there's some emotional truth to them you can get away with really crazy things.
The good news is I think there are a lot of young people certainly who were involved in my campaigns, and I think continue to be involved in work not just politically, but through nonprofits and other organizations, that can carry this hard work of democracy forward.
When you get down to the bottom of it, only about half of what we remember really happened. We tend to modify things to make ourselves look better in our own eyes and in the eyes of others. Then, if what we did wasn't really very admirable, we tend to forget that it ever happened. A normal human being's grasp on reality is very tenuous at best. Our imaginary lives are usually much nicer.
When I'm working with pictures, with images and storytelling, it's really about the sentiment and the emotional trajectory of the characters. That's really where the music lives, I think. That's what I'm focused on; that's what I respond to most strongly.
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