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I try to keep the martial arts up. It's a good thing, not just physically but also for your mind.
At least once a week, I try to have one day where I have nothing planned so I can get up and just go back to bed and lay around and recharge my batteries.
I discovered martial arts, first judo and then karate, and I became quite good at it, because I had something to prove. And more than anything, I needed to feel safe.
When I was a teenager, my dad used to put a lot of pressure on me to be successful, and I'd really beat myself up about things like losing martial arts competitions.
My sensei was a British karate champion named Brian Fitkin. He was my mentor and because I had a hard relationship with my dad, he became a father figure to me.
I like the old school heavy metal bands like AC/DC and Aeromith. I like that type of music. As the director, I tried to influence the type of music the bands in the movie would play.
I prefer to channel my problems and inner demons through a character. Another persona. That protects me and my family. I can get my frustrations out that way.
I wanted to become an engineer, or get a masters in business. But I had the opportunity to do films when I was about 25 and it was a great way to express myself.
I'm not going to freeze my body. One life is enough for me. Some people take this gamble. That someone will be able to bring them back in the future. I'm not going to do it.
It was fun to talk too much [as Jebediah Woodley], to keep running your mouth whether the other characters want to hear it or not. That's part of what made this guy fun.
You really have to work hard to create a three-dimensional character. You have to rehearse and explore and take your time. You can't just memorize your lines and do it on the fly.
Jebediah Woodley is one of those guys that when I'm sitting in my rocking chair one day, thinking back, I'll remember that guy. He was a fun guy to play.
You realize as a director that when you are cutting a film, you want to have alternatives. You need color and choices. You don't want four takes that are identical.
When I was a kid, I was like everyone else: afraid of getting nuked. We had drills in school - Sweden was very close to the Soviet Union. There was definitely a lot of tension.
You can't give someone five hundred punches in a film anymore. You beat on them, and they continue to stand there staring at you. That doesn't work. People just don't buy that anymore.
I like Stallone, because he writes. He sits down with a blank page and comes up with another Rambo movie. That isn't very easy for anybody. He's made it successful on top of that.
As a hero, you have to play it straight. The audience is going to live through you, so you have to be more neutral. They will be projecting their thoughts and their actions onto the main character.
In my career, whether it's a big or a small movie, when I've worked on something for a long time, like [Ivan] Drago in Rocky IV, they start to take on a life of their own.
I mean there's still also an element of the audience looking for role models. In my day, when I started, if you were an action hero, you were a little bit of a role model like the person.
I think mortality makes you live a fuller existence. When I was a kid I was scared of death, and maybe that's what made me desperate to get the most out of life.