Vin Diesel

I love women more than anything.

I was a bouncer for ten years in New York City.

My gut feeling about sequels is that they should be premeditated: You should try to write a trilogy first or at least sketch out a trilogy if you have any faith in your film.

The one thing I will never do is become pigeonholed.

I try to create an environment where, when we step onto the set, we're all in character.

I talk too much.

If you take my performance or my understanding of the role and my appreciation for story and then dress it in CGI, that I guess becomes an action film.

Every actor has their own process. For me, I really need to stay in the pocket. So, if I'm on set and I'm in character, I'm not thinking like a producer. If I'm on set and I'm not in character, wardrobe and make-up, and I'm just coming on set for the moments that I'm not shooting, then I'm able to be the producer.

The films that I do are deep, introspective, brooding roles that you're in this heavy headspace all the time.

I love what I do.

I could care less about being an action actor like Stallone or Schwarzenegger.

None of the actor methods ever discussed what it would be like to play a character on film for over a decade, and what it must be like to return to a character and imagine the time off-screen, which is interesting. There's something as an actor that I enjoy about evolving characters.

The idea of exploring character relations and their development over a decade has to be appealing for any actor who cherishes his craft.

I grew up in an artists' community in New York, in a building that was government-subsidised for artists. No one made any money, but they made art for the sake of art.

I think a few pictures at a time.

I am definitely a person of color.

Career diversification ain't a bad thing.

It wasn't until I went to college and I got my first motorcycle that I understood the thrill of speed.

Women are sacred.

I act because it's the one time I'm sure of my identity. There's no doubt. It's on paper.