Grief changes shape, but it never ends.

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.

I like meeting directors. It can be helpful because sometimes when you meet filmmakers you find out if you like them and if they like you, and that is important in terms of considering a role. Choosing a role is all about whether I relate to the role and the story really. That's the criteria.

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.

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.

There's a lot of great writing, and characters, and stories being told in television nowadays. And much more than there used to be. The opportunities to tell stories, because of the opportunities to show content. And so it's drawing actors from cinema, movie actors, actors to where there's a lot of opportunities to where you can tell stories.

Abstract expression is so solid, so successful and recognizable, but there's a mystery about the artists that goes into it, a fetishism about the artists themselves and who they were.