A Quote by Jessica Lange
I could be making a lot more money now if I had chosen a different kind of movie, but none of that matters to me... I've done the parts I wanted to do.
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But this post-college world felt different from everything that had come before it; art was still central, but now everyone had to think about making a living too, and they did so with a kind of scorn for money except as it allowed them to live the way they wanted to live.
What's the level of compromise for making that kind of money? How far do I have to sell my soul? What's the price of that? And I don't know if I want to make those kind of compromises any more. I think I'm a different person. I think I've matured to a great extent. I think that I want different things now. That it's not about the celebrity status that you receive because you're doing the next hot movie. It's about doing good work.
I wanted to do something that dealt with more of paranormal techniques that wasn't a horror movie. It is an action movie that deals with a special operations group. But if a Tier One team went in to take out Bin Laden today, if you had those kind of abilities, of course you would use that kind of group. And it was more going into that arena. And I wanted to make it feel more like, grounded, as if we had this ability.
I really wanted to do a comedy. I've done a lot of drama, and comedy was the one genre I was not being offered. So I became obsessive about getting one. I tried with two little parts in comedies that were more mainstream, I was kind of fumbling around, and then I read The Brothers Bloom and knew it was the one I wanted to jump into. Did it take adjusting? Actually, it's not really any different from doing drama.
I'm not a movie star like other actors in the way that I need to walk around with a bodyguard. My goal is just to get some interesting parts and make enough money to live free. Otherwise, to be a movie star, it's a lot of compromise and also a lot of headaches. You can't do what you want. You become a prisoner of your fame. This happened to me in France and I don't want it. I want to go to the terrace of a café, have a coffee. I have no problems with the fact that people recognize me, I'm very glad about it, but to be a movie star is kind of unreal for me.
It was a lot of fun on the set. I had the most fun making that movie out of all of them. I'm sure if I sat and thought about it, but none that I could think of offhand.
If I had wanted only to make lots of money, I would have chosen a different profession.
Basically, we [me and Evan Goldberg] started thinking about making a movie that was kind of a weed movie and action movie and had a real kind of friendship story to it, then that would be our favorite movie [Pineapple Express] ever.
In making a movie, you're part of a big machine. Even in a small movie there are still so many people involved in the process, and it costs so much money to make. There is so much more invested in it for a lot of different people, so much money is sunk into it that they usually want some guarantee or promise that it's going to be able to do something on a financial level. There's just a lot more messing with you in film. I love movies and I love to watch movies and being a part of the whole film experience.
Now it's a hard time in every business with the current economic situation, so being an actor where you're seen in different parts of the world is gold because it means that people in other countries will hopefully see your movies and like them, which means more money to make other movies. It's a hard time in movie making.
My whole thing in life is I just want freedom. I thought that money would give me that freedom. I was wrong. It bound me more than it freed me, because now I had more things to worry about, more people asking for money, I thought I had to buy a house and nice cars and different things that people with money are supposed to do.
There were a million different things I could have chosen or wanted to do, but the path of an artist was the one that pulled me the most. I did local theater and plays in school. I think there was a sense of entertaining - being on the stage, making people laugh, making people cry - that I was drawn to. It was also one of those things like, "I can do this for a very long time."
Had we had all the money in the world to spend and we were doing another studio movie, we probably would have jumped quickly into the Necromonger universe and done an Orpheus Descending movie there. We didn't have that kind of resource. So, we said, this time, "If not that, this time, then what is it? What does this new movie look like?" Quickly, just in talking about it very simply with Vin [Diesel] in his kitchen, we decided on a survival, left-for-dead story, where Riddick could, as a character, reclaim the animal side.
Basically, if you could get a good trailer out of the script, Roger had no objection to you making a really good movie. He liked it if you did. He liked the more cleverness and ingenuity you could bring to it. He just wasn't going to give you any more money.
No studio in Hollywood wanted 'Cold Mountain.' None. No one wanted 'Ripley,' no one wanted 'The English Patient.' That tells you there isn't really an appetite for ambitious movie-making out there.
I think it worked two ways. One, a lot of people writing about the movie used that as shorthand and it could either be a good thing or they could use it to dismiss the movie like we were a copycat movie or something like that. It's very much its own story. It is a young woman in a post-apocalyptic society, but after that it's just a whole different kind of story and a different journey that she goes through.
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