Quotes of All Topics . Occasions . Authors
I don't know if it's responsible for kids of my age to be so aggressively pursuing monogamous binds, because I don't think we're ready for them. The romanticism within our culture dictates that that's what you're supposed to be looking for.
I never acted in anything I've directed but I have produced a number of films and I have acted in some of the movies I've produced. Usually with first time filmmakers and pushing a move forward I have played a small role but never the lead.
I want to get better as an actor, to keep trying to work harder, trying to discover something different. In some ways, it's a pretty frightening experience. But normally, I do tend to walk against fear and hope that I'll be able to survive.
If the project has good writing and is something I get excited about, then I'll do the role. And if it's for TV, I'll ask myself, 'Is it a show that I'd watch?' If it's a play or movie, I'll want to know if there's a good director attached.
When you go to Detroit you see a town that is resilient, that's just fighting to win again, and there's an energy to that. Just watching a city really fighting to get back on its feet and watching the inner strength of a city is tremendous.
When I went to Scotland to do another movie, I would sing with a coach up there and then when I went to New York I sang with a coach over there-I mean I've now sung with coaches in LA, New York, London, Glasgow, St Louis and Rio de Janeiro!
We live in a world of creative beauty - the grand architect of the universe. God has planted something for us - a playground to play in if we choose to look at it that way and understand it. So, this time for me, is really a time to create.
A lot of the stuff you do as an actor - or I do, because I can't speak for everyone - is not always consciously thought out. A lot of the time, for me, it's actually just feeling stuff, and it happens all in the moment and your body reacts.
I remember going, "I'm really excited about this - I really want it to happen. It would be a wonderful opportunity." But if something doesn't happen, then it doesn't happen. My mother and father sort of raised me to look at things that way.
In terms of theater, there's not a more supportive theater community than in New York. It's really kind of a real thrill to go there. I mean, don't forget, I'm a boy from the suburbs of Sydney, so getting to New York is a huge, huge thrill.
Theatre is relatively easy if you're British - you're living in the theatre capital of the world, London - there are so many places you can work, still. If I had begun to think of myself as a film actor, I think I would have got distracted.
If you really do want to be an actor who can satisfy himself and his audience, you need to be vulnerable. You must reach the emotional and intellectual level of ability where you can go out stark naked, emotionally, in front of an audience.
I knew acting was what I wanted to do. I don't know if I was brilliant at it, but when I was doing school plays, I loved it so much I didn't want it to end. I feel like I'm exactly the same as when I was doing plays at school, to be honest.
The code that most prisoners live by is an extension of the masculine roles they were taught growing up, how they were conditioned about what it means to be a man: you've got to be strong, you've got to be tough, you've got to be in charge.
I was brought up by my grandparents. So people go, 'Oh, what was that like? That must have been hard.' And you go: 'No, it wasn't.' It was just completely actually normal because the new norm seems to be whatever you make of it, doesn't it?
I want to beat up Michael Fassbender in a movie. I was with him at the beginning of his career when he did an episode of 'Murphy's Law.' He's a proper superstar and enormously talented, but I want to do a scene where I properly duff him up.
I think often there is great rivalry between neurosurgeons and cardiac surgeons. I think I maybe have a bit of bias with neurosurgeons' opinion that nothing tops neurosurgery! But that makes for a quite interesting conflict between the two.
If you are a Northern Irish actor, maybe subconsciously more than consciously, you do have an instinctive responsibility at some point to tackle the recent history of where we have come from. It's not only a responsibility, but a privilege.
No matter how old you are, if you're just not an empathetic person, it's a lot easier to concentrate solely on something that is injuring another person to even some score. Hopefully as people grow older, their ability to empathize deepens.
The great thing about literature is that you're making up your own interpretation of the character anyway. Also, you're given basically a bible of who a character is and you're kind of shooting yourself in the foot if you're not reading it.
As an actor, you only get to work 15 minutes an hour; as a director you're fully immersed. It's incredibly more complex and challenging and I love it. I'm sort of a glutton for work and to direct something that I'm acting in feeds the vein.
There's this little recipe that you have to hit pretty well to get somebody to laugh. And it's a combination of the way in which you say something, with the facial expression that you have, married with the body language that you have, etc.
The narrative of our lives is a total construct. We get to choose what that is. That is something I've realized as I've gotten older. I have a lot of choices about the story that I'm telling myself about my life. So where do I find meaning?
It doesn't hurt my voice or anything because some impressions tear my throat apart. [Christophen] Walken is easy; I can do it in my sleep. They all know it by heart. I did it on The Simpsons. I'm surprised that people still want to hear it.
We're such a funky species. We're so violent, so greedy - this is how we roll. But what are we going to do about it? How do we move forward given who we are? Because situations don't come out of nothing. They come out of certain conditions.
The indie world changed when the economy went south. I was frustrated with doing something, then waiting for it to come out, and sometimes it never did, or would just play in New York for 50 people. So I really wanted to try something else.
My part had three lines. I said, You look wonderful, sir, three times. All my friends said, Do not take that role - and do not understudy. You'll regret it the rest of your life. I did both of those things, and I've never regretted it once.
I'm kind of shocked any time somebody hires me and even more shocked any time somebody hires me to play a character like Lex Luthor, which I only knew from the public consciousness of him being a bald, brooding villain who is older than me.
I don't like to bad-mouth other shows, but I was very disturbed after seeing 'Starlight Express.' It had very little to do with musical comedy as I know it. It had to do with sound and spectacle and records and technology and amplification.
We get the scripts before the table read, but I don't look at them until we go into the table read. I don't want to know, when I'm playing a moment in the current episode, what's going to happen because it might change how I'm playing that.
'Hedwig' was pretty much all the things I wanted to do that other people said I probably shouldn't do: drag, punk rock, stand-up comedy... You know, combine them all in a thing that's supremely uncommercial from the objective point of view.
A lot of humour is about just enjoying life and spontaneity and because you make a joke that puts somebody down - we're always teasing each other. It's with affection. It's nasty teasing that we - not all teasing; nasty teasing you cut out.
I forget who said it, but someone said, your job as an actor is to communicate the most honest version of this character, and so the parts of you that you can use are obviously the easiest to access, because you live through them every day.
Many do not understand how precarious Western civilization is and what a joy it is. From it, we get real democracy. From it, we get the sort of intellectual tolerance that allows me to propound something that may be completely alien to you.
I love Manchester. I always have, ever since I was a kid, and I go back as much as I can. Manchester's my spiritual home. I've been in London for 22 years now but Manchester's the only other place, I think, in the country that I could live.
I grew up, in my childhood, with some of the greatest women performers, on stage and on screen, and even my family - my mother and my sisters. So I was very busy watching women, as a child! I have a lot of memories of great women performers
As soon as we fall in love and we realise we've met the one the rest of our lives can't come soon enough. It's not like you're in a rush to get to the finish line, you're in a rush to feel and experience everything and then do it all again.
Here's the problem: I don't like who I've become when my iPhone is within reach. I find myself checking e-mails and responding to texts throughout the day with some kind of Pavlovian ferocity - it's not a conscious act, but a reflexive one.
If you look at films about becoming a man, coming-of-age movies are made with 12-, 16-, 40-, 50-year-olds... For a guy to feel like he's a 100 percent grown-up is almost like giving up. Like admitting that you're on your way into the grave.
When I was very young, I didn't really write my own material. I just memorized other peoples' jokes. Established comics, like Stanley Myron Handelman and people like that. And then, for every comic, you develop your own style after a while.
I see the love in my child's eyes when he sees me, and I know it's gigantic. As an older person, I've been in love before, and I've loved, but this is really an immense, out-of-control-proportion amount of love that you can't even describe.
Any kind of horror video game where I'm the first-person player and I'm... I suddenly stop caring about the video game dude, and I'm like, I really don't want him to die,' and then the minute he dies, it upsets me. I can't play those games.
I got so broke that I had to take a job on a show called 'BrainRush.' That was purely for money. I was hosting this game show where it's like 'Cash Cab' on a roller coaster, which is extreme, especially for me, since I hate roller coasters.
I will say that when I first came out to the States to work on 'Jericho,' that was the only time that I've ever been frightened about a job, because in America they tell stories over such a long time, and I was petrified that I'd get bored.
It seems to me that whatever path you choose to take, in the end its up to each of us to try, test and live what we find out, to apply it and see what actually works, and that's the exciting and challenging part of this very real adventure.
Maybe it'll stop you trying to be so desperate about making more money than you can ever use? You can't take it with you, Mr. Kirby. So what good is it? As near as I can see, the only thing you can take with you is the love of your friends.
This was basically the first time I got to act in action scenes, with things blowing up all around me. It sounds corny, but I think every actor would like to - at least once in his or her career - play the person who saves the entire world.
To me it comes naturally, the peaks and valleys, sadness with happiness. I've definitely had periods, maybe, where I haven't been happy. Whether it's from a breakup or the good, old-fashioned blues - but I wouldn't say clinically depressed.
We have no chance to comprehend what goes on there - it's so dramatic, and people are so poor. We all felt bad about being there. Filming in India felt like we were going to borrow something knowing that we were never going to give it back.
Violence only perpetrates more violence, and it becomes a vicious cycle. There are political situations all over the world where there are untold acts of revenge for incidences, and thousands and thousands of lives are lost because of them.