Quotes of All Topics . Occasions . Authors
In LA I was watching At the Movies with Ebert and Roper, it was, nice to see them differentiate between the subject matter and the art form of making the film, and they both gave it thumbs up, and I was kind of pleased at their honesty as far as reviewers go.
I'm from New York, and I started in New York, which I think is a huge advantage because I wasn't overwhelmed by the city. I understood the city. All of the distractions that could come with somebody that started comedy in New York didn't really happen for me.
I believe that the majority of times the scale tilts toward the good. It's this amazing thing that rolls on and if we get in the flow of it, that's God. And if we fight it, if we swim the other way, we're swimming away from the purest expression of this life.
'Why do you think it is...', I asked Dr. Cook ... 'that brain surgery, above all else-even rocket science-gets singled out as the most challenging of human feats, the one demanding the utmost of human intelligence?' [Dr. Cook answered,] 'No margin for error.'
In any relationship that comes to an end, there's never just a baseline reason why. You say, 'Oh, I broke up with my girlfriend.' Someone says, 'Why?' You say, 'Well, you got three hours? And then maybe after I tell you my version, you've got to talk to her.'
This whole notion of the acting career as a monopoly where you rise to power... it doesn't really work that way. I don't ever really feel powerful in any way. It's kind of the same thing it's always been: You just figure out what you want to do and you do it.
One of the reasons I got into acting to begin with is that I was trying to figure out how life worked. It was interesting to me to try and follow how other people, real or imaginary, would deal with problems, because I was trying to deal with my own problems.
We knew, very early on, that we had to be very, very clear that directors need to speak to actors and actresses and be very clear about what is expected, and find out whether they're comfortable with that. Wardrobe has to be in place. There have to be checks.
The primary thing that I enjoy about Luke Cage is that he has a morality about him but it's conflicted. He's never sure what the right move is, but he at least contemplates it. He's a not a rash character. It's that thoughtfulness that I really identify with.
Being an actor, you can get spoilt a little bit: car services come and pick you up, you get put up in nice hotels, people fetch you coffee, and so on. It is wonderful, but you can get lost in that world pretty quickly and start believing that it is real life.
My twenties were carefree in the worst ways. There's a nice balance now of work ethic and healthy lifestyle and carefree attitude, which is pretty nice. You get to a point where you don't care so much what people think of you and you care more about yourself.
I was raised looking at women who were strong, and they weren't really into playing race cards or playing gender cards. I didn't grow up around women who were like, 'Well, let the boys do that, and let the girls do that.' I didn't really see that in my house.
The truth is - I found myself doing these huge action-adventure movies, and um, and which are cool man. And I really love doing them. And thankfully I haven't had too much dialogue, because if I had I would have really made a mess of it. You know what I mean?
I remember the first time my mind was blown by an actor was Tim Curry, because I loved 'Clue' when I was a kid, and then I was watching the movie 'Legend,' and the Devil suddenly smiles, and I was like, 'It's the same guy!' It was a total Keyser Soeze moment.
It doesn't work that way, you know, because most parts that you think you'd do well, most other people don't. So they offer you something - The Avengers is a good example... I fitted into that because I came from that sort of background. It's not even acting.
I think I have a tendency to overwork things. I have a hard time finding that sweet spot that most actors seem to be able to hit where they're doing the exact right amount of work, not overthinking, not underdoing it. I seem to either overdo it or underdo it.
The great challenge working on this show for me is wearing polyester all day long and having the worst haircut known to man at the top of my head and sitting under fluorescent lights. That is America, people. Polyester, bad haircuts, under fluorescent lights.
I do it when I'm a preparing for a role quite a bit - I sit with music. It helps influence the discovery of something. Then sometimes during filming I like to listen to the same things. It brings me back to a place where I just feel more creative and focused.
I have several businesses that revolve around fighting: the training centres, the clothing line and all that stuff. I'll probably be involved in the sport in some way shape or form, and I'll continue to train and be active and do the things that I love to do.
I don't trust Santa Barbara as far as I can spit. I am afraid that if I went back there, it's possible that I could be run through their system, their judicial system, and wind up in some county jail where I could be killed and I'm not gonna take that chance.
Pilot season can be maddening. You're basically putting yourself and your talent out there to be scrutinized several times a day for months by network executives who have probably never acted in anything since their junior high school production of 'The Wiz.'
I know as far as things like the Thunderbirds, there's a New Zealand connection. X-Files, my connection there... I mean, it could be zeitgeist. I mean, I'm into the paranormal. I have a podcast about cryptozoology. So it's out there that I'm into weird stuff.
Here's my take on Andy Kaufman... For Kaufman, comedy was a skill that was open for examination. He didn't just do comedy, he deconstructed it like it was a transistor set. He pulled out all the wires and switched them around, often in front of our very eyes.
I decided at age 9, but I was reinforced at age 13 when a teacher told me I had talent. I can't say she really motivated me because I already knew. I knew I had talent. I went to the Jewish community theater and got in plays there. Then I went for the movies.
I'd played a lot of best friends, and/or bad guys, which seems to be my lot in life. In romantic comedies there's always a best friend and the woman has a best friend and they always antagonise each other and then they end up together at the end of the movie.
I trained with a guy named Tito Gobbi, who was the Marlon Brando of the opera world. Tito Gobbi was the greatest singing baritone in the opera world and I studied in Florence, Firenze, with him. That was my first love, as it was Frank Sinatra's, oddly enough.
My goal was always to get better roles, and in my case, performing on stage really led to great opportunities. My breakthrough came when I did Calder Willingham's 'End as a Man' on stage and was spotted by Max Arnow, who'd been the casting chief for Columbia.
The first time I heard 'Jolene,' I was 12 years old, and it was performed by Jack White. I remember watching that video and forgetting it was from a woman's point of view, and forgetting it was a country song, and forgetting it was originally by Dolly Parton.
When people look at the ratings and they're bad, I think people can get an idea of "Why would they even make the show?" And to a certain extent, original programming for any network is a loss leader to try to get you to keep the channel on your cable package.
I am very much against weapons in space. And I wish we could be spearheading that program to come to some kind of international agreement so that doesn't happen. That is my only - fear - in further space exploration like always, we hope it doesn't get abused.
When I was growing up, my favorite movie was 'Somewhere in Time' with Christopher Reeve, which is a hugely romantic, sappy movie. I couldn't understand it when the guy didn't get the girl or the girl didn't get the guy in love stories. I was definitely a sap.
Most movies shot in Italian don't even bother to record the sound. In fact, sometimes when Fellini works, he doesn't even know what the dialogue is going to be, and he simply has his characters count from 1 to 10, knowing he will loop in their dialogue later.
[With R-rated movie] you're not dealing with the restrictions imposed by the FCC. They're self-imposed. In a way, that does make it harder. You actually have to think about it, as opposed to just taking for granted that you're not going to be able to do this.
People expect the math to be simplified, but I want to surprise them right from the start. When the brain gets lost, it doesn't stop working. It tries to makes sense of things. It begins to speculate and guess, and that's when things open up. That's exciting.
As soon as the actor steps into the role, you probably can cut 50% of the lines because there's a person there now. And what a person does with their eyes, with their mouth, with their hands, the way they walk into a room, you can probably cut half the scene.
A successful business maximizes the present value of future earnings. The first requirement, therefore, of business success is sustainable profits. One-time winnings, in business as in casinos, are disappointing. We expect more from our investments than that.
When you approach it, and I hate sounding like the pretentious actor, but yeah, I think you have to find things within the character that are likeable, or at least human, and not to go at it with any sort of predetermined notions as to what that character is.
I'm just thinking all the time. There are times when I don't really need to think. You know what I mean? If you think about stuff for five hours, you really only need to do like five minutes and the rest of sort of rehashing it and dramatically going over it.
Women are the real reason we get up every day. I'm talking about real men. If there were no women, I would not even have to bathe, because why would I care? These are guys I'm hanging with. I wake up for a woman every day of my life to make it happen for her.
[Terry] Tussey has been my favorite gunsmith, but I'm also using other people for other things and giving other people chances because there's only so much Terry can do. He knows me to be the best shooter and the most finicky, so I'm really a pain in his ass.
What happens is some of the characters I've played have voices that are so different from my own, that it would be ridiculous if I would dip in and out of that voice in between takes to ask for a coffee, or something. Or to gossip about whatever was going on.
My life changed in 2005 on the day I met my wife, Tamzin. She was in a play called 'Breathing Corpses' with James McAvoy, one of my best mates from drama school. I knew who she was, and I'd fancied her quite a bit when she played Melanie Owen in 'EastEnders.'
I do sometimes talk about my cancer because that's something people relate to a lot, as we're all going to die. Because I've been close to death and won, I have strong opinions about it, and I've learned how to discuss it and keep the energy high in the show.
Audiences crave something they've never seen before. That's what they want. They want to be dazzled. They want to go in either to have their expectations blown out of the water, or have no expectations and are dazzled by the decisions that we filmmakers made.
I get hired more then I get seen more. I get seen more then maybe celebrity and fame happens but at the end of the day there's no difference between my five dollar performance and my fifty million dollar performance. It's not going to make me a better father.
As actors, we have the opportunity to work with many directors. Directors only work with themselves and other actors. They never know what it is like to work with another director. So that relationship that one has with a director is entirely always the king.
I'm incredibly grateful to be playing the villain in a world which, if I really thought to hard about what I was doing, I would get very nervous about the size and the magnitude of the importance and responsibility of being a villain in the world of 'Batman.'
I'm not really struggling about my career. The struggles are in my personal life. I can't really pinpoint how long it took me to get where I'm at, and I didn't care how long it was going to take, because it's not about the destination, it's about the journey.
I don't have a writer's room. I write all the shows myself. Ninety-one episodes a season, I'm sitting there at the computer writing and writing and writing because I want the voice to be authentic so that the audience is hearing from me and not other writers.
I was raised speaking English and Spanish. And I also speak Danish. And I can get by in French and Italian. I've acted in Spanish and English, but when something has to do with emotions, sometimes I feel I can get to the heart of the matter better in Spanish.