20060616

Interview: Brandon Routh "Superman Returns"


Interview: Brandon Routh
"Superman Returns"
Posted: Thursday, June 16th 2006 2:42PM
Author: Paul Fischer
Location: Los Angeles, California

Brandon Routh seems the perfect successor to the late Chris Reeve, assuming the actor's formidable mantel as the new Man of Steel. Born October 9, 1979, in Des Moines, Iowa and raised in nearby Norwalk (about 100 miles south of Woolstock, the hometown of TV's original "Superman," George Reeves), the strapping 6' 2 ½ " actor-known to his friends and family and sometimes professionally credited as "B.J."-was a high school athlete who swam and played soccer, as well as starring in several theatrical productions. He attended the University of Iowa for a year before heading to Hollywood in search of his big break.

Routh got his first major role on a 1999 episode of the short-lived ABC sitcom "Odd Man Out," followed by a four-episode stint on the third season of MTV's sexually charged nighttime soap "Undressed" in 2000. He also was featured in pop star Christina Aguilera's heavily rotated "What a Girl Wants" video. Along with an appearance on "Gilmore Girls" in 200, the actor earned steady work on the ABC daytime drama "One Life to Live," originating the role of Seth Anderson from 2001-2002. His subsequent primetime credits include guest stints on the CBS crime drama "Cold Case," the hit NBC sitcom "Will & Grace" and Fox's brief-lived "Oliver Beene."

Prior to Routh's casting as Superman, Warner Bros had spent over a decade developing a plan to relaunch the franchise, with possible stars including Nicolas Cage and planned helmers including Tim Burton, Wolfgang Peterson, McG and Brett Ratner. Initially the studio reportedly considered a roster of name actors for the iconic role, including Josh Hartnett, Ashton Kutcher, Jude Law, Brendan Fraser, Jim Caviezel and "Smallville" star Tom Welling. But when Singer came aboard to direct the film, he insisted that a fresh face be cast in the part in the tradition of film's most famous Man of Steel, Christopher Reeve.

Routh, then 25--who reportedly won a Hollywood Halloween costume contest in 2003 by dressing as Clark Kent with his shirt open to reveal the Superman "S" underneath-had previously auditioned for McG and was tapped by Singer after extensive casting calls in the U.S., Britain, Canada and Australia. Impressed by his resemblance to the comic book icon and finding the actor's humble Midwestern roots a perfect fit for the hero's all-American persona, Singer anointed Routh as the next screen Superman. Within hours of the October 2004 casting announcement Routh's name filled an endless array of Internet pages devoted to discussing his worthiness for the role. For his part, the actor kept a low profile to help build anticipation for the film. Curious movie audiences got a pre-"Superman Returns" introduction to Routh with his small supporting role in the low-budget thriller "Deadly" (2005), starring Laura Prepon and Misha Collins as a couple of real-life Canadian thrill-killers.

An assuming charmer, Routh talked Superman and would-be stardom, to Paul Fischer.

Question: So how do you feel about playing such an iconic character and how kind of reluctant were you to take on the mantel of Christopher Reeve I guess.

Routh: Not reluctant at all. It was a great mantel to be able to take on really, an amazing legacy. And you know to finally see it, because I just saw the final product yesterday as well, is really amazing to be part of something like this. And the spirit of Superman is great to have around. I'm really excited to be a part of it and sharing the legacy, any documentary I look up at the sky and Kevin Burns did and Bryan did and showed me again you know the history that's in this character and you know.

Question: Were you there every step of the way because the original was about 2:55 or something, as he trimmed it down were you a little disappointed at all that they cut down the Krypton OPENING?

Routh: I was at first but I mean I thought at first that I wanted a little bit of that in there but the reasoning behind what they cut and what they kept really makes sense and it really played for me when I saw it yesterday, it all worked and was understood. Sometimes when you make a script you want it to be all these amazing things and you realise that sometimes it's too much and there are so many things that it dilutes the main theme of the film. So I think it was to Bryan's credit that he was able to let go of some of those things because you create these scenes and you think you become creative, even I, acting things, you become very creatively taken by it. You want to keep it in there because you feel like it's yours but to be able to see that sometimes some stuff needs to go and I think it's for the benefit of the film. People were going to see it though on the DVD.

Question: What were the particular challenges to do the movie and to play the character, physically and emotionally?

Routh: Well physically preparing for the role, definitely and then continuing to stay physically fit throughout filming, getting up, 4.00 4.30 in the morning.

Question: Were you not fit?

Routh: No, I was, certainly not as much as I became.

Question: So no Australian beer for you while you were filming?

Routh: Every once in a while but not very often you know, I had to stay fit.

Question: What did you do?

Routh: For the film yes. I did here in Los Angeles, my first trainer I did rope yoga which is a process that's kind of like a mix between Pilates and yoga that my trainer Goodnea designed actually and that was to help me in the ropes, excuse me in the wires, to be able to be flexible, to endure the long hours and keep streamlined position and all these things, created a very strong abdomen, core section, all that core-based training. And also it was a process of, we lifted weights as well, in an effort to train my body to then be able to lift heavier weights when I got in Australia. So that was the first couple of months. And then once in Australia, I really hit the weights hard.

Question: So you're 6'3". What did you weigh when you were Superman?

Routh: 220, 218 at my heaviest.

Question: And what do you weigh now?

Routh: 211, 212.

Question: So not that much of a difference.

Routh: Not too much but I'm barely, I'm lifting a little to stay fit but it's nowhere near the sheer amount.

Question: For the sequel right, you're doing a sequel too right?

Routh: If we do another one, I'll certainly be back in the gym before that.

Question: Have they told you to set aside September 2007?

Routh: They've not told me any time. I'm the last to know.

Question: Actors talk a lot about how acting in this craft, you're constantly learning. What did you take away from the experience on this film and specifically what have you taken away from Bryan Singer?

Routh: Wow, I've taken a lot of things. I mean I knew patience was important but just being able to be open and to be open to all the possibilities of what's going to be out there and creatively to listen to people it's very important because I think I have my own way and I'm very certain in my way but to be able to listen to what Bryan has to say, or anybody has a piece of information it's very helpful because you know this is a hugely collaborative process for us all to create things together and you know I'm very open to that now and from Bryan, just being able, it's kind of a similar thing being able to change on the whim when the shock wasn't working for us to be able to, for him to be able to you know completely alter something because it wasn't working, even though he'd created an automatic to do it one way and all this stuff. He was just like, "OK, well, let's do something else", and as an actor, being able to do that, has paid dividends for me too because I really do become stuck in how I think it's going to happen because I practice it, I rehearse it one way and then to go, "Oh, well what about this way?", it opens up a whole new level of exploration.

Question: Are you prepared for what's going to happen to your career as a result of this movie? Are you prepared for the post-Superman, the whole personal life, and the paparazzi?

Routh: Well I think so. As I said before, I'm prepared to be prepared and I think that remains the same, you know there's no way to really know what it's going to feel like. I think for each individual it's different and

Question: Well maybe no one will go.

Routh: Well no, I think we won't have that problem but as far as paparazzi I'm speaking, I will deal with that.

Question: How do you prepare for something like that? Do you get advice from like Kate Bosworth for example?

Routh: Just you know being again being open to it. If I become defensive and upset right away, then that's going to adversely affect how I deal with it and it's probably not going to be good press for me and probably be bad just because I'm angry. Just be open and pleasant.

Question: Think of all those Superman headlines that they'll be able to come up with.

Routh: But as far as, for I think it will be amazing you know where I find myself years from now because of this film. It's just amazing, I think everybody's going to kind of know this film and because of it, me. So I you know it's crazy.

Question: Was there anything that you wanted to bring to the character that you don't think has been there before? There's a lot of vulnerability on screen I thought that looked really good...

Routh: Yeah, you know that has to do with the script. I mean it allowed me to do that which was fantastic because we really get to see the character mature and deal with some things that are, that I think as an audience member, really pull us in. I think Superman's journey is to become comfortable on earth. Of course he's got his role as earth's greatest protector but he also wants to be as happy as he can and if that happens to be with Lois then he's going to find a way. It might not be easy but he'll do you know that's the journey, so it was great to be able to play that. Other than that, I think one thing is with flying we wanted to make it as graceful as possible. Of course, easier with the CGI element but there are many shots that are really, really me in, great stuff I'm really proud of so we wanted to make that as graceful as possible and just the movement of the character being very regal and have a great sense of power when moving which is the difference between Superman and Clark as well.

Question: What's next for you professionally? Are you going to be able to, are you looking for things that are as un-Superman-like as you can before doing another Superman movie or are you just taking your time?

Routh: Well I'm Superman, just not action. I'm kind of looking for something with a lot less action and more talking and listening. I also have a film that's premiering Vegas Film Festival, short film, directed by Joel Kelly, it's called Denial and it's a story, short film, 35 mm short film and it's about a man's struggle to choose between the woman of his dreams and his reality, so it's definitely different than Superman. So I'm really proud of that.

Question: But after that you don't know what you're doing, I take it.

Routh: this has opened up a lot of doors, I've met with a lot of people and very soon I'm going to ...

Question: Make a choice, make a decision.

Routh: Make a choice, yeah.

Question: There's a remarkable amount of silence in the film where the characters - you're allowed to watch the characters just react. Was that a big challenge for you?

Routh: Yes and especially when flying because then I have an element of physicality happening while doing that. One of the most amazing things I got from the film, so much green screen, there are so many moments and it really taught me about how important it is to have an intention when flying, when going somewhere and having an intention. Every time I'm moving, what am I doing, what am I going to save, how do I feel about that, rather than just going and having a blank stare because there's so much story, Superman's a man of few words, there's so much that needs to be conveyed through just the image of my face on screen.

Question: Is there one sequence in the movie that you loved doing that really made you appreciate what you were doing?

Routh: Well there are many and I don't know if I can talk about all them still even yet. You guys have seen them, but there are some heart-felt moments, you know, on Krypton and everything that happens there, you know, testing the limits of Superman's you know even though we know he's Earth's greatest protector, he really has to prove it so those are some powerful moments for me and finding that within myself and being able to display that and kind of live that for those scenes was really fantastic.

Question: Are you a comic guy, are you a fan boy yourself?

Routh: I am, of comics I was never as big of a fan as I probably could have been I suppose but I'm definitely a fan of science fiction fantasy. My interests were in fantasy more than comics growing up.

Question: So books.

Routh: Books, yeah, games, that kind of thing.

Question: Is there a fantasy thing you'd like to play? I mean, is there a fantasy, a movie?

Routh: There are many things, I'm sure at some time there'll be some element of that.

20060615

Interview: Keanu Reeves "The Lake House"


Interview: Keanu Reeves
"The Lake House"
Posted: Thursday, June 15th 2006 3:20PM
Author: Garth Franklin
Location: Los Angeles, California

After twelve years working on separate films, Keanu Reeves and Sandra Bullock have finally come together again in a completely different vehicle than the mega-hit action smash "Speed" in 1994 which made them mainstream heroes overnight. "The Lake House" certainly isn't fast or gritty, rather an a light adult romance fantasy in which the pair play two homeowners in the same lake house separated by two years. Alex (Reeves) is there in 2004 and Kate (Bullock) is there today, and their letters travel the years instantly. A remake of the recent Korean hit film "Il Mare", Reeves spoke to the press recently about his work on the project and what is was like being together again after so long:

Why did it take this long to reunite on a film?

Reeves: It just seemed to kind of come together, this film at this time. What led up to it or how it happened, eventually we both liked the material, liked the idea of what this film was. It was an atypical dramatic romance, I was drawn to that; I liked the dialogue, it was very sweet. I liked these characters trying to figure out their own lives, kind of coming together in a way that I hadn't really seen before.

How did you deal with the lack of eye to eye contact?

Reeves: Well, the challenge - it was the story so, for me, it was part of that yearning to want to see the person, to see Kate (Sandra), it's in the script; it's part of that yearning. Also, Alejandro (Agresti) kind of set up situations where we were in the same room acting together but apart. The challenge of it, it really kind of called upon being open and whatever connection you and I have to let that be.

Are you a fan of writing letters?

Reeves: In terms of writing letters, I tend to type them; I like the contact of it. I think, when I write, I try to be thoughtful but I also like to write kind of quasi-poetically unless I'm answering some kind of voyeur letter from the co-op from New York. I enjoy the sensation of sitting down and taking time and then typing, the physicalness of it, the imprint on the paper, the idea that it's not prone to sun spot flairs and you know; it kind of has its own independence, its own - the object. It's the effort and the thought but it's also something that you can - you know, it doesn't take batteries, so it's on the wavelength of love, of personal intimate time.

How do you see your life changing now that you're a little older than you were in "Speed"?

Reeves: Let's see, getting older, experienced, hopefully be the best you can be to yourself and to another person, with another person. And use communication and imagination; a relationship is an imaginative act, it's an act of creation. Someone said to me the other day that a relationship between a person and a kid is unconditional; but the relationship between adults, to each other, is conditional, in a sense. But that condition can be the best kind.

Is Alex the real catalyst for the time change in the movie or is it love?

Reeves: I think that is what we were hoping for - all of these things, the letters, the mailbox, the house, the connections, the time that they were together, that they weren't together, the dog, all of these things would kind of come to a place that when they do come together that she accepted, and that all those other questions don't mean anything. Know what I mean? To make sense of it isn't the point, the sense of it is the most important thing is that they are together. And that sometimes, what we put in our way - the things that we think matter to us actually probably don't all the time.

What was your relationship off screen to make the on-screen relationship so intimate?

Reeves: Discovering; he (Alejandro) would bark out what he would want differently, 'Ok, take her face, kiss her like this, kiss her, kiss her!' And we're like, 'What? What does that mean?' But by the end, we just do what we do on our own and he filmed it and it just worked. You just get lucky with some of your partners in life and sometimes it clicks on film. It might click off film and doesn't click on film, it's a little scary but I've always wanted to see that in myself. You see it in a lot of great foreign films, you see that intimacy and that kind of affection, which I think everyone, male, female in life - everyone wants to be successful so they can buy that if they don't have that. You know it's something.

Were you able to have much off-screen interaction since most of your scenes aren't together?

Reeves: Well it helped that we had worked together before and I guess we filmed about two weeks together. I think it helped that we were friends and kept in contact over the years; we like each other, so it was a kind of instant rapport.

Do you think it's possible to fall in love without ever meeting a person?

Reeves: Falling in love and having a relationship are two different things but yeah I can imagine that you can kind of - I think it depends on one's psychological state. I think there are some people who are on the internet and can fall in love and seem to be in a certain psychological state and other people who are - who couldn't quite do that.

Did you ever see Il Mare, the movie this is based on?

Reeves: I didn't see the original "Il Mare" because the scripts were so different; it didn't seem to really pertain for me. I'm probably going to watch it now but I didn't look at it in terms of my work. We had a passionate director as well; he had his vision and we got seduced by that as well.



Keanu Reeves and Sandra Bullock pair up again in what could be described as the anti-Speed: The Lake House, a sweet, relaxed-paced, whimsical romance. When Alex Wyler (Reeves, The Matrix) moves into an unusual glass house on stilts over a lake, he discovers a note from the previous tenant in the mailbox--but no one's lived in the house for years. He replies and soon discovers that he's corresponding with a doctor named Kate Forster (Bullock, Miss Congeniality) who's writing from two years in the future. Their correspondence turns romantic and their paths cross in unexpected ways, but when they try to truly connect, danger looms. Though the plot of The Lake House sounds potentially static, the movie is skillfully structured and, despite some truly awful dialogue, will exert an emotional pull on anyone willing to embrace the device of the time-travelling mailbox. What the movie really demonstrates, though, is the genuine rapport between Bullock and Reeves; Reeves, though handsome, has a wooden presence--but in his few scenes with Bullock, his stiffness transforms into a palpable yearning. On-screen chemistry is slippery and hard to define, but these two have it.

20060614

Interview: Jack Black "Nacho Libre"


Interview: Jack Black
"Nacho Libre"
Posted: Wednesday, June 14th 2006 5:48PM
Author: Garth Franklin
Location: Los Angeles, California

In "Nacho Libre", the follow-up to his cult hit "Napoleon Dynamite", writer/director Jared Hess has cast Jack Black as the title character in his next off-beat comedy. Black plays monk who secretly takes up Mexican wrestling in order to fulfill his dreams and earn a little extra scratch for a group of poor, hungry orphans. Out doing promotion for the film, Black talks about slipping into a pair of tights and an eccentric accent:

You're on baby watch?

Black: I am.

What have you learned from Tom Cruise and Brad Pitt about Parenthood?

Black: Hmmm, Tom Cruise; yeah, I guess there's a couple times I wished I had the inviso-machine. What is that thing he bought from the hospital?

The sonogram machine.

Black: That would have been cool, actually. But you know, I heard he goes and plays ball with his kids. I'm sure he's a fine dad, a little nutty, I'd be a little scared. But you know, it's probably like growing up Orthodox Jew or really hardcore Christian; they're religious people, they're a little nutty in general. Today was one of those times where you wake up and sometimes I wake up and I'll be tired and I'll be like, 'Ah, I was gonna get up anyway, it's all right.' But today was not one of those days. Today was like, 'Ooh, I would definitely sleep seven more hours if I didn't have to get up and do things.' It was actual physical and emotional distress.

And that was just five minutes ago?

Black: Yeah, and now makeup, and they brought me here, fresh-faced. Anyway. What were we talking about? Tom Cruise? Yeah, he's a daddy, too. A lot of celebrity daddies all of the sudden, and I just want to say I called it first and everybody else just got busy. But I called it like two years ago - 'I wanna have a kid.' And then everybody else was like, 'What? Jack's having a kid?' And I'm pretty pissed.

What attracted you to the project?

Black: Well, mainly it was wanting to work with Jared Hess; great director, loved "Napoleon Dynamite", and I wanted me some of that Dynamite action, some of that sweet, nappy D. Good stuff, so me and my partner Mike White, we got a movie company now - called Black and White. We called him up and said, 'Hey, let's party.' And he said, 'It's a coincidence; I wanted to party with you guys cause I liked School of Rock.' So, we hung out and tried to think of something to do and he was like, 'You know, I've always been really obsessed with Mexican wrestling, with Lucha Libre. Would you want to be in a movie where you were a Mexican wrestler?' And I was like, 'Well, if you're at the helm, my friend, I will go with you.'

You had some pretty good moves in this film. What kind of preparation did you do?

Black: I did a lot of wrestling preparation; I had a real Luchador pro who taught me all the moves; his name was Tom, and he didn't reveal his secret wrestler's identity to me. And he said that I was a natural. I don't know if he was trying to pump up my confidence, but I believed him. He was like, 'There's no move that you can't do; you're gonna do it all.' So, there was a lot of high-fives in the wrestling ring. But I was pretty sweaty, it was not easy. There was a lot of days when I needed the deep 'tish' or the 'Mr. Myagi' rub.

Did you do it all? Wearing the mask, you could have had a double sometimes.

Black: Yeah, that was the benefit of having the mask; not only did I look like a kick-ass superhero, but also easy to slip in my fat stuntman.

So how much did you do and how much did he do?

Black: I did probably 95%, maybe 92.

Was this one of those things where you figured you're in the best shape of your life now, so you finally wanted to do a movie where you're topless the entire time?

Black: No, you jest, but the thing is, a couple of those shots in the movie, I was watching and was like, 'Wow, I'm kinda ripped there; I see some actual washer-board definition.'

What was it like wearing tights for most of the movie?

Black: I got some good tights; I picked up the material, actually. At first it was gonna be kind of a silky, looser fitting, and I was like, 'That's not what tights are about.' What the hell was I saying? Now I have to wear these things. But then I was like, well, this is where the comedy is. It was good?

Was there a lot of improv?

Black: Not a lot of improve; little nuggets fly in and out here or there. I can't really remember if I had any good improv's or not, but it was a fun, collaborative feeling on the set. If I thought of something funny, Jared was always into trying it, so that was cool.

What about the accent. You nailed the accent.

Black: Well, thank you. I worked hard on the accent, just tried to immerse myself in the world of Mexico, learned as much Spanish as I could. You know, I lived down there for a few weeks, so I was surrounded by authentic, rich accents.

Were there any injuries on-set? It looked like those midgets could cause a lot of damage.

Black: Those dudes were cool, actually. One of them was probably the best wrestler of all the wrestlers; he had a really busy schedule. I don't think he liked me, there was a weird thing there; we were rehearsing and he didn't want to be there. He'd be like, 'Ah man, I'd rather be in Mexico City doing my next wrestling match.' He was like the Michael Jordan of the little people's wrestling association.

What about working with kids?

Black: Well, they were really funny; we had great kids. I always like working with the kids; I've had good experiences. I'm kind of the Pied Piper of the children; they all want to know what Jack's doing. I wasn't sure if my pipe, my pied pipe, worked south of the border, that maybe it only works on American kids. No, it works in Mexico, too; they come following me around all through the land.

Have any of the other Mexican wrestlers seen the movie yet?

Black: I don't know, to tell you the truth; I know they've had screenings of the film, but I have not been to any of them. But from what I've heard, the peeps in the Latin communities are really into it, so that's good.

What'd you think when you first saw it?

Black: I love it; it's definitely the most original movie I've been in.

What do you respond to in Jared's vision?

Black: He's definitely drawn to the peculiar and he's got a very quirky strange sense of humor that is unique and that's what he brings to the table, something fresh, which is so refreshing when everything is so cookie-cutter boring now, you know.

Is Hector very well known in Mexico and how was it working with him?

Black: He's worked in Mexico; I don't think he's a big star, but he was a great find for us, because when were auditioning people in Mexico, he just jumped off the screen. He had a real natural hilarious way about speaking and he was just seemed like a really obvious choice. I had a great time working with him.

What was it like working with the other wrestlers?

Black: It turned out they're mostly sweethearts. I was worried going into it like, 'Oh, man. I'm gonna be wrestling like real luchadors, who have not acted in movies before. They're just gonna be like treating me like one of the wrestlers. They're gonna break my neck, because I'm a sweet, delicate Hollywood comedian. I can't deal with this real athleticism.' But it turned out that I was kick-ass and there was nothing to worry about.

Did you hurt anyone?

Black: No, I didn't; I actually hurt myself, it wasn't all butter and cookies. I hit my head on a metal chair when I was diving at my opponent and I needed stitches. And so I got some Mexico stitches and it healed up pretty good. Yeah, sexy.

Where did you get the idea to do the confessionals?

Black: It's just somebody in marketing at Paramount was like, 'All the kids are watching the iTunes, iPodcasts. We need to get in on the latest technological way to -' And so they gave me a video camera and said, 'Can you just videotape yourself every day?' And I said, 'No, but I'll do it once or twice a week.' So that's why there are some pretty grumpy podcasts in there, where I woke up like I did today and had to go to work and then talk to the camera for extra credit. I'm glad we did that, because now I look at them and laugh looking back at - it reminds me - it's like a video diary. Wish I had a real video diary of my life, kind of. I should have been doing that podcast for myself, every couple days for the last f*cking 36 years. That'd be unbelievable; just once a week, check in, talk about the week.

What would you tell your future self?

Black: Future self? Oh no; I would just say, 'Today I had some granola for breakfast.' Yeah. I don't know what I'd - I don't really have any advice for myself. It would just be cool to have a document of. Yeah, my breakfast diaries.

Did you write the song you sang in the locker room?

Black: I write the songs that make the whole world sing. I did write the song in the locker room with Jared and Mike; we all jammed that out together. I was stoked that came out funny. It's my specialty, writing bad songs that are also really good.

What about the Tenacious D movie?

Black: Sorry, I was just thinking 'really good bad songs,' not 'really bad good songs.' Really good bad songs. What's the status of Tenacious D? Speaking of bad-good songs, good-bad songs? We have finished our movie which will come out in November along with our album. I'm very excited, because it is kick-ass.

How did you distinguish between when you were being Jack Black, actor and Jack Black, producer?

Black: There's virtually no distinction; the only difference was that we were the boss. There was nobody that was the father figure telling us to have homework done, or this or that. We were self-governing; it's like going to college as opposed to high school, when you're producing your own movie. The freedom is there and it's good.

How did you run things differently on this set?

Black: With an iron fist and a velvet glove. I think we were good producers; it's just you have to be filled with opinions. You can't just be like, 'I don't know, what do you want?' You have to really think about every aspect of the movie and weigh in and oversee other people's stuff.

What was it like shooting in Mexico and to produce there?

Black: Gorgeous; we got some of the best locations. I think a lot of people are going to want to go down and shoot more movies in Oaxaca after they see this movie, because it's stunning.

Was the city pretty supportive?

Black: I think so; I know that the mayor - we were going to go and party with some guy who I guess was some big muckety-muck, it doesn't matter. The people there that we saw in the streets were all stoked to have us there. We didn't cause too much trouble and I know that the restaurant that I went to every night was stoked that I was there. I plucked down a lot of pesos for the various delicious dishes. I had a lot of chicken mole.

Which skills that you learned on this movie will you integrate into your everyday life?

Black: Well, I can perform the Anaconda Squeeze at the drop of a hat. If somebody tries to come at me from behind, I know how to do the Wind-of-the-Land Double-Squat, so they'd better think twice.