A Quote by Sajid Nadiadwala
We were shooting at the Kodak Theatre and to see my production company's clap board in front of Sylvester Stallone was overwhelming, I had to pinch myself. It was a magical moment. It was a different high.
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I grew up watching 'Rambo' and 'Rocky' and all of those movies, so you have a surreal moment, even as an actor, when you're in front of these guys, whether it's DeNiro or Stallone. You have a moment like, 'Geez, that's Sylvester Stallone,' and then you have to snap out of it and get back in the pocket of the character.
Working with Sylvester Stallone is beyond a 'pinch yourself' moment. I remember growing up watching his films.
I came out of high school, where my heroes were, like, Michael Jordan and a lot of local rugby players - and on the movie front, it was Arnold Schwarzenegger and Sylvester Stallone.
Sylvester wins, obviously [best actor in a supporting role in 2016]. That's the whole point of this. We're all getting dressed up to go to the Oscars to hear Sylvester Stallone, let no one get this twisted. The academy can't pay for a better moment than this: this is the Oscar's original darling.
The first time I met [Sylvester Stallone], he had golf tees up his nose. So I figured we were going to be OK.
I knew that Sylvester Stallone's involvement would outweigh everything else from the film. I think people went into Creed expecting a boxing movie and something that superficially ties Stallone in, but Creed was really well written.
I think the action movies in the 80s and 90s were different. It was a testosterone age. Steven Seagal, Jean-Claude Van Damme and Sylvester Stallone - they fuelled my childhood. But now I don't think I'd like to do just action, I don't enjoy that.
I think I had the good fortune to watch Sly the Artist [Sylvester Stallone]; to watch him in all arenas. As an actor, not many people get to see him turn that character on, they don't understand that he's playing a role.
Financing for 'Shotgun Stories' was initiated with money from close friends and family. This is where the money to go into production came from. After production, a company called 'Upload Films' came on board and provided post-production funds and services. In both instances, people were taking a gamble on us.
The men I idolized built their bodies and became somebody - like Sylvester Stallone and Arnold Schwarzenegger - and I thought, 'That can be me.' So I started working out. The funny thing is I didn't realize back then that I was having a defining moment.
Back in the 1970s, Kodak tried to give $25m to a black civil rights organisation in Rochester, New York. The company's shareholders rose up in arms: making this politically charged offering wasn't the reason they had entrusted Kodak with their money. The donation was withdrawn.
Sylvester walked up to me and was like, 'Mind if we get a photo?' obviously because I was in all this crazy makeup. I was like, 'No, Sylvester Stallone, I don't mind if we get a photo.'
I think the whole nostalgia for the forty year gap for [Sylvester] Stallone was bigger than the movie [Creed], but it's good because the movie still gets recognized with Stallone's involvement. I'm sure the director [Ryan Coogler] is still proud of his film, but it's very hard to nominate a director.
Soccer players in L.A. can kind of just walk the streets. They have bigger people to take pictures of. They see Sylvester Stallone walking down the street, I don't think they are going to want an Ashley Cole picture, to be honest.
I have been on the Urban Brew board for many years and assisted with the artistic evaluation of the various shows that were pitched to the production company.
Sylvester Stallone is very funny and he's a great guy to hang out with.
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