Quotes of All Topics . Occasions . Authors
I was born Joseph Lane, but when I applied to the actors union, they said they already had a Joe Lane on the books and I'd have to change my last or first name. I had played the character of Nathan Detroit, whom I liked very much, in 'Guys and Dolls,' so I took the name Nathan.
We live in an era where each of us has a massive catalog of film and television available through the internet at the swipe of a finger. To get folks out of their homes for a piece of art or entertainment, I think you need to offer something they can't get on Netflix or Amazon.
I think, in storytelling, people want to see triumph, and so it's usually nice to start with failure and see someone somehow rise above it. People like to see people try. And they like to see people fail for comedy, and they like to see people succeed for the drama and emotion.
For me, honestly, one of the first movies I did I was always pounding coffee, and I crashed so horribly. So I've kind of weaned myself off. You keep getting second and third winds. But for me, I've stopped doing energy drinks or any kind of stimulant. I just kind of go natural.
I've always been drawn more to film. But 'Bloodline,' to me, feels like a 13-hour piece of cinema. And the great thing about Netflix is you get to be almost like an editor. You choose how much of the narrative you want to watch at a time, which makes you complicit in the story.
Sure, you can do something frothy and ridiculous, but you should probably be confident that it's going to be a sure-fire hit. Then it's sensible, because it enables you to make smaller movies. But if you make something frothy and ridiculous that doesn't work, it's not worth it.
There are many great writers out there and, actually, great scripts. The problem is - and this is what I've always felt, even when I got out of school and started reading scripts - the really smart, character-driven stuff tends to be smaller films, and they just don't get made.
At 17 years old, STG took me under its wing and shared its resources and wisdom with me, even allowing me to take part in a show at the Edinburgh Festival. Without STG and the Ramshorn Theatre, I would not have found access to the world of drama that I later made my profession.
What annoys me about it is that your fate is always in somebody else's hands. It's always up to somebody else to decide whether or not they want you in their show and so the majority of actors have to play out a waiting game. The constant fear is that it could all end tomorrow.
In 2001, Texaco was bought by Chevron, and during deliberations concerning that sale, an 800 page document listing the problems and liabilities connected to Texaco was brought forward at their stockholder meeting by Amazon Watch, a non-profit dedicated to protecting the Amazon.
[on his dwarfism] When I was younger, definitely, I let it get to me. As an adolescent, I was bitter and angry and I definitely put up these walls. But the older you get, you realize you just have to have a sense of humour. You just know that it's not your problem. It's theirs.
It was very nerve-wracking for me. I had to be drunk and have a threesome. I'm not that guy. Bobby Cannavale is that guy. But it was Vegas and things got crazy, and it happened. We go to Vegas to try to sign Elvis Presley and things get crazy. My character [in Vinyl] is stoned.
Every backstory involves my father. I remember hearing Gary Oldman talking about backstories and saying, 'I got to stop using my father...' And I feel the same way. I don't know. What I come up with always involves some element of this son trying to prove himself to his father.
Some bloke came up to me in Tesco a couple of years ago at 11:30 pm and said: 'Excuse me, would you mind telling my son here that you're Uncle Vernon?' I said: 'Get a grip. It's 11:30 at night - what's he doing out of bed? I'm not here to entertain people at this time of night.
I don't wilt easily, and a director can't either. He's the captain of the ship and he's got to be in total control. He also has to have respect for the people he's working for. From being an actor and being on a set my whole life, I'm very comfortable there. And I'm not afraid.
The reality of Britain is vibrant multiculturalism, but the myth we export is an all-white world of lords and ladies. Conversely, American society is pretty segregated, but the myth it exports is of a racial melting-pot, everyone solving crimes and fighting aliens side by side.
You can read a character that feels amazing, but if the world around it and all the writing around it - even the way the stage descriptions are written - don't feel just right, then you know there's no point in doing the project. No character is ever bigger than the whole film.
Can I play a southern character? You betcha. Can I do the voice of Tourist Dad and Carnival Barker? Ya betcha. Can I do Fix-It Felix? Ya betcha. But I don't want to just play southern characters, so I hide it; I bury it. I tamp it down like a secret. Like a dirty little secret.
Conan O'Brien's the best. I'm glad he's in L.A. because I want to move in with him. I was a guest on that show one time to promote 'Human Giant,' and he was the coolest, funniest guy. I was really impressed. He's also eight feet tall and can shoot lightning from his fingertips.
If I were a place, the area of South Bank, in London. Between the Hayward Gallery, National Theatre and all other activities, I'm never bored. I would also say New York for the breathtaking skyline formed by the buildings and the fast pace of the city, whatever the time of day.
I haven't really decided to be an actor yet! I started doing plays when I was about 15 or 16. I only did it because my dad saw a bunch of pretty girls in a restaurant and he asked them where they came from and they said drama group. He said, 'Son, that is where you need to go.'
In our fervor to halt the potential spread of totalitarianism, what incredible precedent are we setting in Vietnam? By marching our legions through the countryside of foreign continents, burning homes, laying waste to the land, and indiscriminately killing friend and foe alike?
In high school, I had a wonderful teacher who, coincidentally also taught Meryl Streep before me. At the same time I had my own rock band, I played bass and sang. I was one of those kids who really enjoyed being with my friends and doing rather insane, but fun, creative things.
If you're a waiter, the worst thing you can do is go to work resenting your job. This will sound trite - but it's the reality, and part of my personality - yet when I was a waiter, I tried to be the best waiter, and when I was a bingo-caller I tried to be the best bingo-caller.
The only thing I can give to young gay people is that when I was growing up, there were no role models that were blokey that were men. Everybody was flamboyant and camp, and I remember going, 'That's not me, so even though I think I am gay, I don't think I fit into this world.'
It took me a long time to find out that I was born to be an actor. It was the last thing on my list, although my list was very small. I didn't know what to do. But kids weren't supposed to know what to do back then; we were all cute and we'd find out what we'd do later in life.
[P]erfect freedom consists in obeying the dictates of right reason, and submitting to natural law. When a man goes beyond or contrary to the law of nature and reason, he . . . introduces confusion and disorder into society . . . [thus] where licentiousness begins, liberty ends.
I've had teachers that inspired me, yes. I think teachers play a really important role in people's lives. I had one teacher in particular who helped me through high school and really instilled a confidence in me by just holding me up to a standard I wasn't holding myself up to.
I had to learn all the pieces backward and forward [to play it in "Florence Foster Jenkins"]. We practiced on weekends. It was very much like being in school, except it was with Meryl Streep. Like, I would go to her apartment and we would practice Mozart's "Queen of the Night."
Spoilers are cowardly. They're just people who want to anesthetize themselves against the tension and the experience that the director and the artist have set up. If you go in there knowing what's going to happen, it's like reading the last page of the book. It's just cowardly.
We've been married for 10 years. We have a five-year-old boy and an 11-month-old boy and life is good. It's a constant juggle but it is so incredibly fulfilling when you get a chance to look into each other's eyes at the end of the day and say, "We made it through another one."
I'm not Mother Teresa. But I'm not Frank Bough, either. I am getting older and a bit more sensible. I'm not going to be popping up in dungeons every six months. If you catch me preaching fidelity while I am shagging chickens then throw the book at me. Otherwise, leave me alone.
My parents took me to a movie, and I remember wanting to sit apart from them for some reason. I wanted to be a big boy or whatever. I remember looking up on that screen. It was a movie about medieval knights. All I remember is saying, 'I want to do that. I want to make movies.'
I was on 'The O.C.' and had a small part, which wasn't very challenging. I was a bit bored, so I started shadowing directors and they finally gave me a shot. From there, it led to directing other television shows. I am trying to direct a feature film, so we'll see what happens.
I kind of put myself out there a lot just because I trust the people I'm working with. You have to see what works and what doesn't. Sometimes it's not my job to find that out, it's just my job to do what the character calls for. And if you change the character I'll do that too.
SportsCenter? You watch it and I didn't miss one thing. Chris Berman, they give you the whole rundown. I'm like wow. And I go in there and I walk in the next day, I know everything. They'll be like, "Oh did you see that?" I'd be like "Yeah I did," but it didn't take five hours.
People have to work to maintain happiness. It's easy to be miserable. It's easy to stay miserable. It's easy to live in a place where nothing's working and not being able to work your way out of it. It's much harder to choose happiness, to choose laughter, to choose a positive.
One of my New Year's resolutions was to interact more with people. That sounds quite technical, but literally face time. Not FaceTime, because that's a thing now, but to be in the room with someone. To turn your phone off. To sit and have dinner and just be there with somebody.
Chris Hemsworth is like Christopher Reeve in that he can do two things: he can wear a big red cape without a shred of self-consciousness. But he's also funny as hell, and he's so sweet. So with all the fish-out-of-water stuff, he's so funny. So he does almost two jobs in a way.
In Hollywood, they make movies like they make washing machines. It's a business. In Europe, the films are considered art. No producer would ever tell a director where to cut a film or how to re-write the script. I love Hollywood, but all of the time I have to go back to Europe.
All of us are trying to achieve 100 percent in our work. That's all we struggle to do. We never do, but we never stop trying until the day we die. It's that struggle to achieve 100 percent, that's where our performance lies, that's what the audience gets. They get the struggle.
You don't have to be kind. You have to be calm. Once you start showing that people can affect your emotions, then you obviously don't have that much power. If a stewardess can affect your emotional life, then you don't have any power in life and you just showed your whole hand.
By attracting attention to yourself, you distract people from the movie. Ideally, you like a movie to speak for itself. You don't describe a song before you sing it or tell about a painting before you show it. You don't reveal the recipe before you serve the dish. You taste it.
There'll be moments when I'm out in the prison yard, chatting with the cast and the crew, getting ready to shoot a scene. And then I'll remember if I were actually an inmate, I'd only be out there an hour. The other 23 hours of the day, I'd be in my cell. It's kind of a downer.
Everytime a lawyer writes something, he is not writing for posterity, he is writing something so that endless others of his craft can make a living out of trying to figure out what he said. Course perhaps he really haden't said anything, that's what makes it so hard to explain.
I do not hold that because the author did a bad job of writing the player need trump it with the same kind of acting. When I go into a picture I have only one character to look after. If the author didn't do him justice, I try to add whatever the creator of the part overlooked.
I was in a taxi the other night, and we started talking about life and the taxi driver goes, 'Chaos and creativity go together. If you lose one per cent of your chaos, you lose your creativity.' I said that's the most brilliant thing I've heard. I needed to hear that years ago.
I was in high school. A couple of my friends and I decided we had to be in a class together where we could fool around, and drama was it because we'd do improvs, beating each other up. They left a year later, and I stayed in and got a knack for it, and enjoyed the whole process.
If I hadn't left South Africa, I felt I was at risk of being pigeonholed. I looked around and saw actors who, 10 to 15 years into their careers, were still playing stereotypical Afrikaans characters, stereotyped Indian characters. That was not something that I wanted for myself.
artists try to say things that can't be said. in a fragile net of words, gestures, or colors, we hope to capture a feeling; a taste; a painful longing. but the net is always too porous, and we are left with the sweet frustration of almost knowing, which is teasingly pleasurable.