I didn't find it difficult to live in the 'Inherent Vice' world or play those scenes, because they just seemed so real.
When I was in acting class, we did a lot of really serious scenes, and we didn't do comedic scenes. I felt like doing those scenes, it didn't come out of my mouth the right way. I don't know if it's because my voice is different, or what it is about me, but it just seemed a little off.
There aren't any songs that I would call impossible to play live, but some are difficult. A lot of Queensryche songs are difficult to play live. It's quite a difficult question to answer because everybody (In the band) has their own opinion of what's difficult to play.
Usually, the most difficult thing to do is photo-real stuff. Something that has to actually look like the real world, because it's just so difficult to do that. We're just so used to looking at the real world, our brains instantly see when something is not quite right.
It's difficult to explain, but I just somehow feel that I never really *have* lived; that I never really will live--exist or whatever--in the sense that other people do. It drives me crazy. I was terribly aware of it all those nights waiting for you in the Ritz bar looking around at what seemed to be real grown-up lives. I just find everybody else's life surrounded by plate glass. I mean I'd like to break through it just once and actually touch one.
Even for the most difficult scenes, and there are difficult scenes in the film, and because Michael Haneke is such a great film-maker - I think a great film-maker is not only being inspired, but how to do it, how to make it as real as possible, knowing that it's not real.
'Inherent Vice' was a novel that already existed, and in 'Steve Jobs,' I was playing a real person; in those situations, you do feel an added pressure to please.
It was really interesting to be editing the film [Trust] in New York and directing the play in Chicago, and one definitely informed the other. The play probably benefitted more because I realized what scenes could be cut, and I cut those scenes from the play.
Sometimes a writer writes scenes for people who just say 'Hi' to indicate they're in love. I play those scenes very well.
I paint mostly from real life. It has to start with that. Real people, real street scenes, behind the curtain scenes, live models, paintings, photographs, staged setups, architecture, grids, graphic design. Whatever it takes to make it work.
I am not one of those actors who dwells on the histrionics and the subtext and future text of the character. I deal with the scenes that I'm doing at that specific time, because if I do that, they play in more of a real way.
I don't find intimate scenes more difficult than other scenes.
There should be no such thing as a vice law. Every vice is only a bad habit, and the punishment is inherent in the act.
I don't care what you do. We all deal with it if we're living life, trying to find those moments where you can turn off your brain and connect to whatever and just be grounded, live in the moment, which I find really difficult but try to practice on a daily basis.
There is a reality to the way the actors play the scenes, given that there is a real, animatronic, moving robot in the room. So the level of nuance and realism in performance was higher because we built the real ones, and it keeps the visual effects guys honest.
The inherent vice of capitalism is the unequal sharing of blessings; the inherent virtue of socialism is the equal sharing of miseries.