A Quote by Jack O'Connell
The way America appreciates cinema is different from anywhere in the world. It's celebrated and supported. I don't just mean by the individuals, but financially as well people are throwing money at certain projects.
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I would be open to doing cinema anywhere in the world. I wouldn't want to restrict myself to a certain kind of cinema or a certain language or get typecast.
I don't hold it against Dizzy [Gillespie], you know, but if a guy wants to play a certain way, you work towards that. If he stops - he's full of crap, you know. I mean, I wouldn't do it, for no money, or for no place in the white man's world. Not just to make money, because then you don't have anything. You don't have as much money as whoever you're trying to ape; that's making money by being commercial. Then you don't have anything to give the world; so you're not important. You might as well be dead.
In a world of democracies, in a world where the great projects that have set humanity on fire are the projects of the emancipation of individuals from entrenched social division and hierarchy; in such a world individuals must never be puppets or prisoners of the societies or cultures into which they have been born.
I love acting with very little dialogue. As long as it's supported. I mean, in terms of cinema, you can have a great monologue, but if you're not supported by the images ... You can be feeling things and then you see it back, and you're like, "None of that came across." Or the angle of my face gives it a completely different interpretation than what I was trying to communicate.
America's new tea lovers are the people who have forced the tea trade to wake up. Elsewhere, tea has meant a certain way, a certain tradition, for centuries, but this is America! The American tea lover is heir to all the world's tea drinking traditions, from Japanese tea ceremonies to Russian samovars to English scones in the afternoon. India chai, China green, you name it and we can claim it and make it ours. And that's just what we are doing. In this respect, ours is the most innovative and exciting tea scene anywhere.
When Mexicans sneak across the border, they're more apt to carry a bag of pot then they are a fistful of money. Because the pot can be exchanged for money, anywhere in America. Anywhere in the world!
I think that Putin's strategy has been throwing a lot of money, fairly haphazardly, at a lot of projects aimed at disrupting Western relations and undermining trust in democracies. They may have gotten farther in the States than anywhere else.
Financially, I've lost money and made money, but I know my way around financially.
I actually think that the economy has got some positives. It's got the market. It's got consumer confidence and it's got banks throwing - I mean central bankers throwing money at it around the world.
I don't really follow television so much, but in the old days there was a certain way TV was, and it wasn't really like cinema. I don't know how many ways it was different or the same, but it was not quite like cinema. Now, cinema can happen on television.
There are disagreements over whether autism is something that should be always and all the time embraced and celebrated as just a different way to be human, or whether autism sometimes can be really so debilitating to individuals that you want to do something to change those disabilities in them.
I play for the America that embraces refugees from war-torn nations, for the America that welcomes all people who want the chance to experience the American Dream, for the America that appreciates the contributions from all the people it shelters.
I would personally not run down any cinema just because I am not capable of making it. Anurag Kashyap makes a certain kind of cinema; I make a different kind. But when we meet, we are friendly.
I came to Hollywood and I loved it. It was a great time, but in my head I was still elsewhere, in Europe. I believed in a certain cinema, which I still do believe in - a certain European cinema - and as a young woman being in America, I thought I was being taken away from that.
I don't want to do films for money and go back. I want to try to at least change the world through cinema, the industry, the way cinema is conceived.
How much money I demand - or don't demand - is my prerogative as an actor. However, when it comes to commercials, my outlook is different. And in that area, I do try to set certain standards, financially or otherwise.
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