"I was of the mindset that I was lucky to work. I was of the mindset that nobody wanted me in Hollywood. I approached Hollywood with that idea – nobody wants me here, so I’ve got to work extra hard. There’s a great benefit to working with actors that you’ve worked with for ten years. The idea of exploring character relations and their development over a decade has to be appealing for any actor who cherishes his craft. When I first did The Fast and the Furious, I didn't want there to be a sequel on the first one. I thought, “Why would you rush to do a sequel just because your first film is successful?” I’ve always had kind of an allergic reaction to taking a reactionary approach to a sequel. 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. You should think about where the film is going over a series of films. Our public is so apt for episodic storytelling. I grew up with Goodfellas and then the next generation was growing up with TheSopranos. It’s the same genre and the same genre, but one you’re able to see every week and one you see when it opened up in the theater. So, when I did Tokyo Drift, they asked me to do this cameo. I had always said no to doing sequels to Fast and the Furious and I had said no because of the script. And the producer said, “If you don’t like the scripts that we’re producing, then you produce a script.” And that was the last Fast & Furious.
This is a trilogy. In the same way that we’ve seen other franchises reinvent themselves and it was kind of what they had to do. If you remember seeing the posters for Fast & Furious, there was no number on the poster. That’s bizarre. That doesn’t happen a lot. It was a subliminal way of saying, 'We’re not going to go on and on and on. We closed up the last three and it’s almost a fresh start.'
I think we’ll be in Europe in the last one." - Vin Diesel
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