I totally see the resemblance At today’s Sorcerer’s Apprentice press conference, someone asked [Nicholas] Cage how he chooses whether to go way over the top (like in Bad Lieutenant: Port Of Call, New Orleans) or hold back (like in Adaptation.) And he responded:
"Thank you for noticing, because first of all, it’s difficult to talk about the work, right? Because when you talk about the work, it’s kind of stupid because the work speaks for itself. I don’t want to name it, because when you name it, if you name it then it loses its mystery. If I tell you exactly what I was thinking, or what I was up to – and I have been guilty of that – then you lose your secret connection with the work of art. And I digress, but I went on Dick Cavett many years ago and met Miles Davis. And I was talking about things like art synthesis and Picasso and you can do with acting what he did, or with music, and Miles came out and he got it, you know, he was looking at me, he gave me this, like – he nodded and he winked at me. Miles Davis, you know. And we were sharing the trumpet. And ever since then, because he accepted whatever my philosophy was, I believe that I wanted to approach acting as jazz. And so he became like a surrealist father of sorts, along with Walt Disney. And I thought, 'Okay. Well, this time, I’m going to just let anything come out, whatever it may be. Like Bad Lieutenant, you know. But sometimes, it’s really thought out and constructed and carefully thought out, like Adaptation. So I always like to mix it up."
Stop hittin' on my chick and get me my shit, Beethoven!
