A Quote by Max von Sydow
I don't have a philosophy for choosing roles. Sometimes, it's just, 'This might be interesting; that might be fun to do.' There might be interesting actors or directors in the project, even if the part is not important. And then sometimes, you need the money.
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Sometimes you have to do a role that might not be the most interesting, but it will set you up for doing roles that you want to do.
You want to make a little money, and sometimes you want to play some really great parts. Sometimes they don't always coincide, or co-exist. Sometimes you've got to do good parts for no money and... You know, I sometimes can't do movies just for the money. I really can't. I mean, I've tried. Believe me, I'd love to just take the money and run. That might just be part of the equation, but there has to be something there. You have to be somewhat creatively satisfied.
I can't always pick and choose, but I try very hard to take the roles where they are a bit more human. Sometimes there's a hilarious thing that comes along and it might not be the most interesting character, but I'm just delighted to be able to do something.
Sometimes I feel like being an intellectual. Sometimes I like to just be aggressive and all the way in my feelings. Sometimes I might be emotional, or sometimes I might drag on the track and be lazy. I just like to share the different states of existence of Kevin Gates with the rest of the world.
You do sometimes have to work on things where you love the cast and you love the filmmaker, and the role might not be great but it's fun. I'm totally down to do those things, and will continue to do those things, as well, but it at least has to be peppered with roles that are really interesting and that are hard.
You start to think in terms of making an album that might be greater than the sum of its parts. It's sort of like having a lot of footage and then editing it into something that will make sense to a viewer, you know. Sometimes it might involve even working on an older song that might complete that picture.
I could give 48 penalties in every match if I wanted to. It is a question of sometimes choosing what is - in your own mind - of material importance and what isn't, what might be a crucial potential penalty and what might not be.
Sometimes it's fun to explore ideas that might make people uncomfortable. If you let it, there's a lot of self-censoring that can go on in the name of remaining likeable, but I don't find that an artistically interesting path to take.
Sometimes, during a shoot, an actor might fail to turn up or there might be a need for an actor for a scene... and then if the director asks me, I step in front of the camera.
In my case, if one out of five opportunities is interesting enough to work on, maybe one in five of those ends up being worth doing. That might be a function of risk. That might be a function of price. There are all the variables. But you have to be constantly sorting and choosing and prioritizing.
Sometimes the picture is more interesting than what is going on. Sometimes the picture is suggestive of greater things in society or the history of what might be connected to the theme in the pictures and those are worth exploring.
Kids who are middle class, socioeconomically, are surrounded by mentors. They have coaches, teachers, they have family friends, their parents have friends. They might have opportunities, they might have jobs that allow them to experience things that kids in poverty often don't have. Sometimes they come from dysfunctional families. And when you come from a family where money's a real challenge, then it might not be a priority to get you into a summer internship.
Sometimes I'm surprised when someone who has achieved success is incredibly Machiavellian in their manipulations. So, while I want to believe it's integrity, that might just show how naïve I am. I sometimes worry that I might not be shrewd enough to maneuver myself through the Hollywood system.
I would say that maybe directors who act as well are easier with actors. I'm not saying that all directors have this, but sometimes you'll come across a director who sort of looks at an actor a bit like a kind of untrained horse that's been let out of the stable, like they might buck him.
They might not need me; but they might. I'll let my head be just in sight; a smile as small as mine might be precisely their necessity.
If you write interesting roles, you get interesting people to play them. If you write roles that are full of nuance and contradiction and have interesting dialog, actors are drawn to that.
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