A Quote by Willem Dafoe
I do want to be in mainstream movies that are going to be seen. I suppose it satisfies the showbiz side of me.
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The chances are you've never seen the other side of me. You've seen the event side of me when I'm on stage. But there is another side of me. If you evoke that side, you won't like it. It's a nasty side. You don't want to see that side. You're not missing anything by not seeing it.
When I was in N.W.A. and didn't get paid all the money I was owed, that's when the business side of showbiz hit me. I thought, "Half of this is workin'. I'm famous, but now I need to be famous with some money." That got my brain started at trying to figure out the business end. And once I figured out the business side, I next came to understand that success really comes down to the product, not to me, my personality, or what club I'm seen going into or coming out of. None of that matters.
When we are part of mainstream cinema, we want our movies to be seen by maximum viewers.
I'm interested in exploring the places where all media meet. As TV, Internet, art, games and movies all start moving towards the same point, I want to be part of inventing that space. I'd like to explore media that are traditionally seen as part of the mainstream but not necessarily utilize mainstream formulas.
I don't think people should abuse the fact that they are in showbiz. You still have to be human. I think that's the point. Showbiz is about showing human things - just amplified, that's all. And when it gets too much into, "Hey, we're part of the showbiz club and we can do what we want," it turns me off and I hate it.
I've seen a lot of 'Show Boats,' but I've never seen the one that thoroughly satisfies me.
I think I'm a very American director, but I probably should have been making movies somewhere around 1976. I never left the mainstream of American movies; the American mainstream left me.
In this business, things go in waves, and I might make a record every three years. That's enough for me; that satisfies me. And it satisfies the so-called public, because they don't really need a record every year. They don't even want one.
When I've acted, and it's not been something I've written or have had at least a hand in writing, I do think there is a controlling side of me that is frustrated by that. And I actually don't think that it's a bad thing, because if I'm going to be in movies, in large part they're going to be movies that I write.
The problem with my mind is it sways from side to side. The idea of me fantasizing about becoming an actor quickly led to depression. 'No, it was never going to happen to me.' I was a sixteen-year-old kid on the other side of the world from where they made movies. Scottish actors never really got play. There was Sean Connery, and that was it.
Things go in waves, and I might make a record every three years. That's enough for me, that satisfies me. And it satisfies the so-called public, because they don't really need a record every year. They don't even want one. There's other stuff out there for them to listen to.
I'm a huge Star Trek fan. I've seen all the shows, I've seen all the movies, but ultimately I just want a 2-hour movie that takes me to another time and place - something that entertains me.
When I was in N.W.A. and didn't get paid all the money I was owed, that's when the business side of showbiz hit me.
I believe now the industry has seen a different side of me. They have seen me in advertisements, they have seen me act, and now they have seen me as an all-rounder, complete with my dancing ability.
I'm an actor. Never trust an actor, whatever their energy is. I suppose you guys see that side of me, but I'm sure there's plenty of people close to me who've seen the other one. I think if we're all honest with ourselves, we all know that internal rage.
Whether these were liberal publications or conservative publications, whether they were mainstream or slightly to the side of the mainstream; out of the mainstream, they all believed that they had the right to tell you how to stylize yourself. And from the New York Times to the much more left-winged nation. And The Voice said, no, whatever you want to. You drew whatever you want to, we'll publish it. Nobody was doing that. Nobody does it today. The Voice is no longer that paper, and editorializing is now in the hands of editors, with few exceptions.
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