Quotes of All Topics . Occasions . Authors
That could sound arrogant, I guess, but sometimes I feel like I have a bit of a Zelig thing. I'll blend in wherever. I'm from the South, so I'll have a Southern accent when I'm home. But if I'm up here in New York, I have a British accent.
If you don't believe there's some organising principle, or somebody up in the sky pulling the strings, then it can be very stressful. And nature itself is very arbitrary - it's not malevolent or benevolent; it doesn't even know we're here.
I had a bonding problem when I went off and boxed for five years. I was over in Europe and Asia fighting because I wanted to do something different; I was tired of acting. But the thing is, when I was done doing that, I couldn't get a job.
I didn't sit around thinking, 'I'd love to play Luke Cage,' but when the character was presented, I did my research, and I was just like, 'This is a real gift. He's a great character, and I'm happy to have a chance to take a crack at him.'
I do love to cry. I'll cry at the drop of a hat. I'll cry at your basic television programme, let alone a weepie. But not big, heavy, serious crying. I haven't done that for a while, which is a relief. More like a little welling up of joy.
My first Comic-Con was when I first met Joss Whedon: He introduced me to that world and I'd never been to a convention before that. He and a bunch of the 'Buffy' and 'Angel' writers were all going down in a big van and he invited me along.
Acting is always at the core of my life, but I'm also excited about producing. I'm excited about directing, and I have a life in the filmmaking world, and so I want to explore all aspects of it, not just the acting, but acting is the root.
My dad was really complex, and I was raised by that. My mom is really bright - very book bright - and so those things collide... I learned that I could put all of that stuff together in the world of acting, and I could make a dollar at it.
I think that when you decide to dedicate yourself to creative endeavors and surround yourself with people who are creative, you very quickly learn how hard it is to survive doing those kinds of things, not to mention make a living at them.
Early on - certainly in acting - you really have to take whatever you can get. So I understand well how difficult it can be to be in this position where people are just not hearing what you're trying to say or are saying. I recognize that.
Kids take you outside your comfort level because you ask yourself, 'How do I answer that question for them?' You think back to your childhood, and it's like: I don't want to give them that, I want to give them this. My life is my children.
These things don't just come, arrive and settle like a bird picking up a few bits of crumbs. They develop. I think the best word for these things is develop. They develop because of the human beings who just happen to be there at the time.
I'm from Mt. Clemens, Michigan. It's right outside Detroit. The suburbs. I was always very heavily involved in theater back then. I was always in drama club or forensics. Anything that you could do that had some performing, I was doing it.
Am I an anxious guy? I think I have been called upon as an actor a lot to access emotions like that. But I don't really think I am a big worrier. I don't see myself like that. But I guess other people do. Which is maybe worrying in itself.
When you are working on a TV show or series, you just get into the routine. You get used to getting up early. It takes a few days, but once you are up and running, you get used to going home late, and it becomes this very repetitive cycle.
I have a fine level of recognition in the business and among the acting community now, so I consider myself one of the lucky ones. If I didn't think that, there would be something wrong with me. I'm grateful and thankful for what I've got.
When your partner gets cancer, then life changes. Your timetable and reference for your normal routines and the way you view life, all this changes. Because you're dealing with death. You're dealing with the possibility of death and dying.
I think one of the reasons 'The Karate Kid' film has stood the test of time, aside from 'Get him a body bag,' 'Sweep the leg,' catching flies with chopsticks, all of that stuff that's become pop culture, is that it worked on a human level.
John Schneider's cool. I mean, he is the epitome of cool. To be that confident without any chip on his shoulder is very hard to do, and that man just has it. To be that well-known and still be so personable and social, it's just fantastic.
I was at home waiting for projects. I was on Parenthood and there was one season left, and I was thinking, "What's next?" I'm at this age where I'm trying to write my own script, and they sent this over and I decided to put myself on tape.
I don't have a problem with green screen at all. I think children invented CGI. We invent worlds. A stick can become a sword. Or a bowl of stones can become a bowl of tomatoes. That's what children do, and that's what CGI enables us to do.
Even in 'Hollyoaks,' we were known as 'the black family' as opposed to just 'the new family.' But that's where we are in the world, I guess. It's getting better; everything's heading in the right direction, whether it be race, sex, gender.
I do write, I enjoy it. But I like acting. I wanna be in front of the camera as much as I can as long as I can, so I'm still pursuing that. There's just a lot going on. I write standup, so it's just a matter of time. I just need more time!
There's a lot of dark horror, and a lot of sci-fi fantasy that's great, but what gets hyped a lot the big stuff. The most expensive stuff gets hyped a lot, and I love it, don't get me wrong, but there's things that fall through the cracks.
Having spent a substantial part of my career parodying religious figures from my own Christian background, I am aghast at the notion that it could, in effect, be made illegal to imply ridicule of a religion or to lampoon religious figures.
I think the character does tend to suit an episodic thing, because what's fun about him is that he doesn't care about anyone else, and it's very difficult for a main character - a lead character - in a movie to not care about anybody else.
Drag queens always love a portmanteau of combining words and making something new, because this whole world is shilarious. And so you have to contain yourself with words. Shilarious is just something that is a really hooty kiki funny item.
It's all about knowing that everybody that you see, everybody that you sit across from is a different aspect of yourself. So once you can accept yourself on every level, that's when everything opens up, that's when the party really begins.
They were just kind of simultaneous - the film ending and the sets being destroyed. I was struck the first time I saw the Great Hall become a big pile of burning rubble and getting scattered around. It's really quite shocking for the fans.
In Canadian comedy, you'll almost never see guns. If you bring a gun into a scene, it's like, 'Whoa! Wow, how are we going to deal with that!' Guns in an American comedy are a given. Violence in America is used in a much more cavalier way.
I cannot tell you that I ever fell in love with the theater as an audience. I fell in love with the theater as an actor for a period of time, but I have struggled as an audience, and I struggle more now than then. I was always a movie guy.
I've always loved film, and since I knew I probably couldn't be a cowboy or a spy in real life, I thought I'd play one in a movie! I started doing theater in middle school and tested for 'Victorious' before being in an episode of 'iCarly.'
Scripture is the thing I like to share with people more than anything. My prayer reality is quite kooky. I have this very unique dialogue with the Lord. I utilize my own sort of street vocabulary - nothing slang that would be unacceptable.
Some nights, alone, he thinks of her, and some nights, alone, she thinks of him. Some night these thoughts, separated by miles and time zones, occur at the same objective moment, and Ray and Mirabelle are connected without ever knowing it.
I would like a wine. The purpose of the wine is to get me drunk. A bad wine will get me as drunk as a good wine. I would like the good wine. And since the result is the same no matter which wine I drink, I'd like to pay the bad wine price.
The guard rails on a highway may restrict some folks from driving the way they want, but those rules mostly end up saving the lives of those other drivers who understand that living in a society means behaving in a commonly beneficial way.
I try to go to my parents' house as much as I can. No matter how busy we are as a family, we always make that time to have that 'family together' day because we want to. You can't let work and life get in the way of spending time together.
What I learned at that moment on the subway 30 years ago, staring at my blank passport, was this: If you have an impulse to do something, and it's not totally irresponsible, why not do it? It might just be the journey you've always needed.
It's great if a pilot starts off great and if it doesn't start off so great it's not that big a deal: everybody's baby is born ugly. But you want to know, if given the opportunity: Where are we going? What's the story we're trying to tell?
If you're at a restaurant and someone asks, 'Fresh pepper?,' the answer is yes. When people shake off the fresh pepper, they clearly have no interest in living a full life. Same thing goes for grated Parmesan. Why would you turn that down?
Black people, if I may, we don't get a lot of opportunities to do a lot of different things outside the norm, outside of what is expected of us. Black women on Broadway are expected to put themselves downstage center and tear the roof off.
I couldn't afford to go to drama school in London. Then I met with the Royal Scottish Academy of Music and Drama in Glasgow, and I fell in love with the city. It was one of the few schools that offered me a place. It didn't do me any harm.
I've done animated TV stuff, but I'd never done animated film work, which is much more involved and much more labor intensive. The animators are much more meticulous and detailed. It's just been really fun and really satisfyingly creative.
I'm very open to fresh talent, and I love the underdog, people who have been counted out, because they come in with a different type of hunger. I'm all for the underdog, so I'd like to talk to anybody who shows up with that sort of thirst.
I'm certainly curious about people. As a kid, I moved around a lot. I was raised in a lot of different places, and thanks to working in the movies, I've gotten to keep traveling. I've always been interested in other cultures and languages.
I have friends who I get along with who I know get very uncomfortable being alone, unless they're with people, talking all the time. Whether it's on the phone, or in person, they're never by themselves. Whereas I could be alone for months.
I always have issues. I'm a New Yorker. I always have issues with trust - you adopt it from being a New Yorker. I think trust is something that comes from the gut. I don't think it's anything specific. I don't think it's anything tangible.
My wife is a former homicide detective, LAPD. The wonderful thing that I was able to capture is my wife's experiences from human and professional, and how do you deal with some of the atrocities that happen in L.A. and not bring them home.
Coolidge has the best idea on this farm relief. He said, 'Farmers, you are in a hole. I can't help you, but I will get in with you.' He did. That made it fine so the farmers were satisfied as long as Coolidge was going to get in with them.
I like to really spend the time and figure it out and rehearsal is to try something that doesn't work. It's hard to do that, because you always want to go with your impulse thought and you wonder if that's the one, did that work, you know?