Talent is to actors what luck is to card players. It’s not really anything; it’s just a fictitious word that people have created and labeled things. Talent is like, you know, I never really believed in talent, I believed in drive and determination and preparation, but talent is sort of like luck.
I sort of grew up doing theater. And that’s how I got into film, actually.
You know, rap is sort of like a form of talking, right? So it’s like you can hear, you know, the slaves doing it. You can hear, like, you know, Africans and Jamaicans doing it just kind of as, like, a rhythmic, poetic conversation, you know, to a rhythm.
We have a way of dealing with information that has sort of personal – personally identifying information in it. But there are legitimate secrets – you know, your records with your doctor; that’s a legitimate secret. But we deal with whistleblowers that are coming forward that are really sort of well motivated.
I don’t sit there and speculate. I’m not that sort of person. It wastes time, actually.
I’m not a country picker, really – I like a nice, beefy, raunchy sort of sound.
Lyric poetry is, of course, musical in origin. I do know that what happened to poetry in the twentieth century was that it began to be written for the page. When it’s a question of typography, why not? Poets have done beautiful things with typography – Apollinaire’s ‘Calligrammes,’ that sort of thing.
It’s sort of an action flick. You can’t be that funny trying to steal diamonds.
I think it’s even harder because I think as always, Hollywood is sort of glamour central for the world, and the entire world looks to it for not only entertainment, but the whole idea of the youth factor and youth being sold to our culture via young actors and actresses.
I find that people are constantly coming up to me now. There’s been a definite surge of people recognizing me and I’m not sure if it has to do with the DVDs or not, but I’ve sort of assumed that it does because the show has been off the air for three years now.