A Quote by Ken Watanabe

With 'Letters from Iwo Jima,' then 'Memories of Tomorrow,' I reached a sort of turning point in my acting. I had poured so much of myself into those movies that I really had no idea where to go from there.
In 'Letters from Iwo Jima,' there were times when I told Eastwood, 'This is just not believable.'
I wish black people had a flag they could put into the ground, like when the troops stormed Iwo Jima.
No other island received as much preliminary pounding as did Iwo Jima.
'Where'd You Go, Bernadette' is an epistolary novel - one told in letters. I had no idea how much fun it would be, puzzling together the plot with letters and documents.
Off they go on this sort of camping trip to Iwo Jima, where they're taken around and shown where all the battles took place. It's very moving. Disgusting little island, though. Still an active volcano. Stinks of sulfur. There are dead Japanese everywhere under that island. It's icky. But I knew I would never have another chance to go, so I took the job.
I wanted to do serious movies. I had a certain idea of what good acting was. That's since changed, and I love doing comedies now. I don't like a lot of those movies now, but I thought those were movies that I could do real, serious performances in.
When I was in high school, my parents had this power over me - if I ever lied or got caught doing something that I shouldn't be doing, then I would no longer be able to go to LA and continue to pursue the acting thing. So that was this sort of looming thing they could had over me that just sort of really kept me in check throughout those formative years where you would typically be lying and doing bad stuff.
I don't care about my personal acting career anymore. I'm done with it. After 10 years of making movies and doing better than I ever could have imagined, I sort of had to ask myself: 'What am I supposed to do with all of this success that I have had?'
I was a barfly, so going to work and acting and rehearsing and then going and sitting in a bar and drinking and then going home was sort of my lifestyle. And there was none of that out here in the '70s when I was lucky enough to get movies, and nobody else that I knew was working in movies at that point. I didn't really have a lot of movie friends.
Among the men who fought on Iwo Jima, uncommon valor was a common virtue.
You know, I think I did originally have some sort of idea of maybe a Where Eagles Dare kind of mission against impossible odds, but it really sort of died before I had a chance to really go anywhere with it, and then just doing the book was out of the question.
The only black battalion on Iwo Jima was a small munitions supply unit that came to the beach.
You write a character, but in essence, it's just a concept of what it could be, and then actors come in and they have their own sort of interpretations and thoughts. If you respond to those and then go forward with them, then it's kind of like magic to see the idea you had become alive and in the flesh.
I don't think I realized what was going to be the hardest part of becaming an artist until I dove off the diving board ... first I had to overcome a pre-speculated idea of me. I had to sort of burst through that and introduce myself, and that was the first hurdle, and then now sing in front of everybody, and then that was the second one, and I'm the offspring of - you know, who I'm the offspring of - I had a few hurdles to get through, no doubt about it. But the scales never tipped in the other direction too much.
I didn't go to film school. I had been an actor in movies, I had been in plays, and then I just sort of jumped into it.
For me, personally, life in South Africa had come to an end. I had been lucky in some of the whites I had met. Meeting them had made a straight 'all-blacks-are-good, all-whites-are-bad' attitude impossible. But I had reached a point where the gestures of even my friends among the whites were suspect, so I had to go or be forever lost.
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