Quotes of All Topics . Occasions . Authors
There are certain directors where you know you're going to be good or you're not going to be there. There are people where you kind of know that if you miss the mark then it'll probably not be in the movie and that's very reassuring.
I wasn't a trained actor, I was trained in musical comedy theater, and when you do that, the audience is completely part of the thing. It's like Elizabethan theater. You play the scene, and then you turn - the audience is part of it.
The prospect of dating someone in her twenties becomes less appealing as you get older. At some point in your fife, your tolerance level goes down and you realize that, with someone much younger, there's nothing really to talk about.
The prospect of dating someone in her twenties becomes less appealing as you get older. At some point in your life, your tolerance level goes down and you realize that, with someone much younger, there's nothing really to talk about.
One of my earliest memories is being inside the recording studio and I see the shadow of a figure that looks an awful lot like Walt Disney. Then the door opened and Mr. Disney walked in and said, 'Hi Clint.' I won't ever forget that.
It doesn't matter if a character is a lawyer, a cop or a geography teacher. If there's a story in there, where the character has a passion and a fire in his belly and story to tell, then it's enough for an actor to get excited about.
I've got a guy in my office that works 24/7 to shut down websites that are putting 'Dead Air' on the net for free - ripping us off. The problem is many people are of the mindset that says, 'If I can watch it for free, I'll watch it.'
It's a choice if you want to change your life for the better. Life is cause and effect, it's all about choices. And what you do today can deter the next 30 years of your life. You gotta be careful, you gotta pick your friends wisely.
President Bush has delivered a new resolution to the U.N. saying that Saddam has failed to cooperate with U.N. resolutions, freeing us to get our war on. Don't mess with us France, or we'll send Jerry Lewis to Iraq as a human shield.
I'm dark-skinned. When I'm around black people, I'm made to feel 'other' because I'm dark-skinned. I've had to wrestle with that, with people going, 'You're too black.' Then I come to America, and they say, 'You're not black enough.'
I think any man who says he has never had an awkward moment with a girl, is a liar or he's delusional because he's sitting there thinking he is doing really well and the girl is thinking "Who is this man and why is he talking to me?"
Some of these things I saw in foreign films - African films, Cuban films - long before I decided to really go on this course as an actor. I started to think about what values I saw in those films that I wanted to bring to my projects
I think the corruption of power is very interesting, and I think the idea that power is something that... You know, when people want power, they're a certain individual. When people acquire power by accident, they're different again.
In high school, I tried out for every sport there was. But none of them would have me. When I was a freshman, someone asked me to go audition for a play with them. I got in and didn't want to do anything else for the next four years.
I love tennis. I've played it my whole life. Loved it since the age of three. I had an injury, so from the age of 13 to 24 I didn't play much. Then when I moved out to L.A., there were so many tennis courts that I rekindled the love.
I was a big fan of 'Star Trek.' But then again, you know, 'Star Trek', 'Star Wars', 'Doctor Who', I wasn't a big fan, but you know, when they ask you and they cast you and it drops in your lap, how can you say no to these franchises.
I am defined also by Woody Allen’s films and Martin Scorsese and Jim Jarmusch and Julian Schnabel or Almodóvar, or by Guillermo del Toro, Iñárritu, Cuarón. Even if we haven’t worked with them, we are all defined by their filmography.
I was working with Peter Tolan, who was my writing partner on those two [Rescue Me and The Job], and he did The Larry Sanders Show with Garry Shandling, and he always said that the second season is better because you know the actors.
I think my parents were happy that I'd gone to university and gotten a degree in history so they thought, 'Well if acting doesn't work for him, he can always become a history teacher or something.' Fortunately, the acting worked out.
Right before I got The West Wing, I was pretty much out of money. When I first came in to Warner Brothers, Aaron Sorkin was there. Of course I was nervous; I'm sitting here in front of the guy who wrote "You can't handle the truth!".
The philosophy has always been pretty clean and straightforward, which is that if I see something that I like and I can see it's value to the audience and it's value to me then I'm going to take my shot at it regardless at the genre.
I'm a great believer that actors are very similar to session musicians. You wouldn't ask a session musician, 'How do you play jazz,' and then, 'How do you play classical?' They just do it, because if they don't do it, they don't eat.
There's something scary about acting always, because basically you do all this work in a vacuum, and then suddenly there's a lot of money spent making a film, and there's suddenly a camera here, going, 'Right? What are you gonna do?'
It's interesting: I never got stressed before wrestling matches. I always felt completely confident that I had done everything I could do, all my mental preparations when I sat down and envisioned the match, so I never felt stressed.
This place [USA] is exploding with young people who are - they're like Nietzsche's hammer - going to break everything and make something better. The creative energy in this country, and what people are coming up with is very hopeful.
A lot of people preach that, if we put guns in the hands of good people, that will outweigh the guns in the hands of bad people, but what we fail to look at is the mental stability of these people, no matter how good or bad they are.
Well, when I was a kid and I watched 'Speed Racer,' I used to always watch it in the morning with my cereal. And when I ate the cereal, I would pour soda into the cereal because we never really had milk for some reason, I don't know.
From Italy, I'd get calls from cousins and aunts saying, 'I don't think you should act. It's really tough. What are the chances?' This was around the time 'Flashdance' came out, and I was like, 'What about your dreams? I'm a maniac.'
I think now I've established myself as a director, but starting out, I'd be foolish to think that every opportunity that came after 'The Wonder Years' didn't stem from 'The Wonder Years.' So I owe so much of everything for that show.
I've never crossed over to be a big star. I'd like to be in a big $100 million movie, though. 'Cause I was in an 'Austin Powers,' I think I had two lines, and every once in a while, I get a check, a really nice check, for that movie.
With improv or a full length play - you know how you go to a theater, and after 10 minutes you say, 'Oh, I don't like this thing,' but you don't want to get up and leave? At a sketch show, it's always something new every few minutes.
I can be completely indulgent and spend as many hours and days or weeks as I like on one thing. Writing music and sitting in my studio, just pottering with ideas, it's a lot more personal and creative for me, I don't feel restricted.
I've tried to stay away from mild satire. I want an audience to feel something more powerful for their ten bucks. If they're going to spend two hours with me, and trust me to lead them around, I'd like to take them someplace special.
I really only worked for about a month on 'Meatballs.' What happened was that Ivan Reitman figured out that studios wanted to meet everybody involved with 'Animal House' except the producer. So he thought he'd better start directing.
A lot of people live much more simply than in the old days. That doesn't bother me. Keeping busy is the problem. Television guest shot fees are going down. You can do a dozen guest shots a year, but you're not making that much money.
But actually just yesterday we raised the key of one of my songs two steps up, so my voice is obviously responding. It's a muscle, and the more you use it, the more you use it right, the more you should get out of it. So yes, I sing.
It's kind of a rule of thumb for me to self-doubt going into any kind of project. I always think that I shouldn't be doing it and I don't know how to do it and I'm going to fail and that I fooled them. I always try to find a way out.
It was a black and white film [at first]. And then it changed to colour film, and I was surprised and culture shocked when I was six or seven years old. And then HD, then 3D now. So what's going? What's coming next? It's so exciting.
The emphasis in 'Notting Hill' was perhaps, I thought, slightly more on the romance than on the comedy. But I think 'Mickey Blue Eyes' is maybe slightly more on the comedy. And the tone on 'Mickey Blue Eyes,' it's a far sillier film.
We can live tough lives, but the human spirit is stronger, seemingly, than anything. There is redemption, hope, and love. All different forms of heartbreak, but beyond all that there is hope, there is love. There is beauty and bliss.
If you ask my wife, the biggest fault is my inability around the house. She says the only thing handy about me is that I'm close by. And, I have a terrible memory. I'm bad at saying no. I often double-book. There are a lot of things.
I would cling to unhappiness because it was a known, familiar state. When I was happier, it was because I knew I was on my way back to misery. I've never been convinced that happiness is the object of the game. I'm wary of happiness.
I have little routines in the theater. Once I've established something, like the order of putting on makeup and a costume, I have to invariably do it in the same order every time, even if I only did it by chance the first time round.
I think 'The Wire' really is relatable. It reflects an ongoing issue across America, about inaccuracies in major cities between rich and the poor and some of the things that go on behind the red tape of council and government bodies.
I tell people all the time, as I was going through my process of being a comedian or being an actor and a writer at SNL, I tell people that everything you do is all a piece of your puzzle to determine where you’re going to end up at.
Acting is a cruel enough business. One minute everyone's going 'Hey!' and the next they're going 'Who?'. You certainly don't need people knowing your private business, especially if you want to come out with your head still attached.
My parents would have to put the fire hose on me to get me out of bed, to go to school in the morning. They would use a cattle prod and just shock me, or throw boiling water on me, or fire a gun next to my head, to get me out of bed.
With 'Divergent' and 'Insurgent,' there isn't great emphasis on uniformity; it's a vigilante military, the state is in disarray, and there is no reference point for authenticity, so it's just weapons work and circumstantial fighting.
So in my sophomore year, I took a senior anatomy class. I thought anatomy - being the thing that I should be most interested in - and if I could hack, as we called it, a senior class, I would continue. I didn't hack the senior class.
A lot of the people in San Francisco think of themselves as healers - not just as people delivering this base service, but giving their clients spiritual help. It's almost like being an actor, playing a different part for each trick.