Keanu Reeves Quotes About Film
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I loved the material when I first read it, and the experience of making the film was a great one. So when we came around to complete the trilogy, I just signed on board without even reading the scripts because the experience of the first film was so good.
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I think - I don't know, maybe it's nostalgia. But the choice, losing the choice to be able to use film is going to be - it's gone. It's going to be gone.
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When I work on a film, you know, I try to get or inhabit the body of the character -from the vision of the directors or how i think the character should be - so if it's a film like SPEED, you hit the gym, you get to do some, train with SWAT People, hehe, but in general, I'm really focused and dedicated, and then in regular life, I don't go to the gym as often.
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I've been really fortunate to be able to do different kinds of films in different scales, different genres, different kinds of roles, and that is important to me.
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When we talk about how movies used to be made, it was over 100 years of film, literal, physical film, with emulsion, that we would expose to light and we would get pictures.
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I really took it in-house. The Constantine character has a kind of flesh-and-blood practical look at things that would seem, other people would use the word, occult or spiritual. But here, demons are real. So for me it was more taking it from the film itself. I didn't really need to go outside the piece itself to inform me because the perspective on it, what the character does, was provided by the script.
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Sometimes when you make a film you can go away for three months and then come back and live your life. But this struck a much deeper chord. I don't have the ability yet to speak about it in an objective.
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One of the aspects I like about the film is that there is a kind of emotional, psychological discussion during the storytelling, ... Before taking a drug, go through yourself, experience yourself, all your hopes and fears in your own time. Before the pharmacology, do the psychology.
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I did do some things different [in John Wick 2], but it's different on basically the same things. Because I have the background from the first film, it was really the first time I was doing judo and jiu-jitsu.
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The whole aspect of cinema and film festivals should be a moment to come together and celebrate art and humanity. It would be a shame if there was such a divide.
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I hope I don't become just an animation [with a digital film].
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Artists are losing the choice to use film. People have a love for it - the grain, how it feels, the texture.
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Sometimes, with the scale of a film, it's like when I walked on the sets of "The Matrix," especially in "Reloaded," there was the city square, or in "Revolutions" with some of the machine world, you're like, "Wow, this is a big playground," which is fun to watch. But the acting experience and the collaborating and creating the world, working on the piece, they're the same joys.
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There's a film there in competition [of Sundance Film Festival] called To The Bone. It's directed by Marti Noxon. I have a supporting role in it. It got really well received. It's a really great film.
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The truth is often terrifying, which I think is one of the motifs of Larry and Andrew's cinema. The cost of knowledge is an important theme. In the second and third films, they explore the consequences of Neo's choice to know the truth. It's a beautiful, beautiful story.
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For the gun work, I had more of the basic training from the previous [movie John Wick] and the weapon work I have done in the past. In the second movie [John Wick 2], it really went on into another level. I've done the three gun training, where you worked with the pistol, rifle and shotgun. So that all is in the film.
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