Quotes of All Topics . Occasions . Authors
We are not what we seem. We are more than what we seem. The actor knows that. And because the actor knows that hidden inside himself there's a wizard and a king, he also knows that when he's playing himself in his daily life, he's playing a part, he's performing, just as he's performing when he plays a part on stage.
You might look at my CV and see I've had 12 jobs, but I've been to over 450 auditions so I've heard 'no' a lot more than I've heard 'yes'. So if I go in looking only to meet my own standards, then that will make taking that rejection a little bit easier. And when I do get that job it will seem like icing on the cake.
Even if you're on the right track, you'll get run over if you just sit there. My folks were Indian. Both my mother and father had Cherokee blood in them. I was born and raised in Indian Territory. 'Course we're not the Americans whose ancestors came over on the Mayflower, but we met them at the boat when they landed.
We think it hugely important to support young artists, there is a war against that kind of artistry, that kind of creation...When somebody is 19 years old, they're gonna do what they're gonna do just like we did... For me the most important thing was for him to know anytime he can call and I'll come whatever happens.
Reading... there have been millions and billions and billions and gazillions of people that have lived before all of us. There's no new problem you could have - with your parents, with school, with a bully, with anything. There's no problem you can have that someone hasn't already solved and wrote about it in a book.
If I have my way, I want to go start making really interactive television. Stuff where you can sit and watch real actors do a real series and they can get into some kind of gun battle and all of a sudden your television prompts you to pick up your controller and all of a sudden, you're playing a first-person shooter.
I always gravitate towards the independent side of things, just because those are the stories I always fall in love with, but you don't really get paid, and living in Los Angeles is expensive, and I have a mortgage to pay. So it's good to jump onto a studio film and then in all my other time do small passion projects.
We [Americans] have a historical trauma when it comes to the past relationships when it comes to Native Americans and the history of how America was created. With this film, it's nice to see that the trauma is presented from a white male that was in the Civil War and that trauma affects him in a way that still exists.
I never played sports or got into the whole guy camaraderie of, like, 'I love you, man! Seniors forever!' So suddenly being in the military with these guys who were under these very heightened circumstances, isolated from their families, living this very kind of Greek lifestyle, it changed my life in a really big way.
Math just wasn't my favorite. I didn't get how important math is and how it relates to real life. That's why I think I was turned off to it. Once I got down arithmetic and a little bit of algebra, I think I checked out. As I've gotten older, I think there's a lot more relation to math. English was my favorite subject.
Acting is about giving something away, handing yourself over to whatever role you are asked to play. I'm not hiding or escaping or seeking anonymity. I reserve the right not to have a rubber stamp on my forehead saying this is who I am. Because who I am gets in the way of people looking innocently at the parts I play.
And there's a period where everyone's buying those and it's really bad because no one is Larry David or Ricky Gervais. And then they don't work and networks stop wanting to buy them, but because they wanted to buy them before the producer wanted to make them, the producers are still hanging on to wanting to make them.
My character is just an extension of me. The in-ring work, the things that will always be said about me: Big, overbearing, powerful, in-your-face, couldn't wrestle - I never needed to wrestle. Why did I need to learn how to wrestle? Did Hulk Hogan need to learn how to wrestle? Nope. Is Hulk Hogan a good athlete? Nope.
We had lunch that day [with Chris Ellis], and I was talking about this idea. I toyed with it a little bit on Twitter in story form at one point. And he thought it was a great idea, and he thought, "Well, let's bring my friend Harry Hannigan in, who's a wonderful writer, and let's see if we can put something together."
I had to leave school at 14 because my father got injured in the mines and I had to support my family. I was an undertakers assistant, then a plasterer, before doing my military service in the RAF. All the while, I was doing amateur dramatics and dreaming of getting a scholarship to the Bristol Old Vic Theatre School.
You can not bring back the past. But you certainly can not repeat it. Life is short, even if live to ninety. Live to the fullest - that's how I feel. Appreciate every moment, every hour, every day, because they do not blink of an eye, all over. I am absolutely sure that for most people their death comes as a surprise.
Then, at age 20, I discovered theater sort of by accident. Quite quickly, theater became more important to me than music. I began to realize that maybe my talents as a musician were quite limited, or had a ceiling to them, whereas acting seemed to sort of stretch before me. I got very passionate about it very quickly.
Monty Python never directly said, 'We're liberals' - they just did their sketches, and you had to figure it out. Generally, they were anti-establishment, of course, making fun of the people in power. I think, comedians, that's their job - pointing out what other people might not notice and going, 'Yoo-hoo, over here.'
I certainly don't feel there's a distinction to be made between a television and a film actor. I think there's a distinction between great actors and not so great actors. But I really think if you watch a person working in television give a wonderful performance, that person is f - ing great, because there is no time.
Alfonso Cuarón, in the rehearsals, without J.K. Rowling's knowledge, told me that [my character] was, in fact, gay. So I'd been playing a part like a gay man for quite a long time. Until it turned out that I indeed got married to Tonks. I changed my whole performance after that. Just saw it as a phase he went through.
There's different ways of getting into character. There's what's called 'the outside,' in which is finding the physicality of the character first. To give an example, in 'Gettin' Square' - Johnny Spitieri - that's how I found that character. I knew those people that I'd seen up at Kings Cross. I knew how they sounded.
If given that ability, I would definitely be a long-haired, beard person. Ever since third grade, your whole life, there's always someone who's like, 'You better get a haircut.' It's no different in acting, especially when you don't know what role you're going to do next: a doctor, lawyer, a military guy, or whatever.
The trick to acting is not to show off; it's to think the thoughts of the character. I was lucky because when I started acting, it was doing jobs above pubs. I learned to act in anonymity, so by the time people saw me, I knew what I was doing. I was crap for years, but no one saw me being crap. It's a trade you learn.
I think it's a total fallacy for people to say, "You couldn't make those old movies today." I think there's more ways to get a movie made today than ever in the history of the entertainment industry. It's a very exciting time to work in movies, if you're a creative person looking to make a very personal, weird vision.
There are things you do for the fun of doing them or to work or to hang with certain people. But the projects that I've invested myself in and cared about most deeply have absolutely been activated by a desire to chase something that I relate to, or that I see as having the potential to speak to someone else directly.
I'm one of relatively few stage-trained actors who doesn't much like acting on stage. It feels kind of like riding the Cyclone at Coney Island, which I did when I was eight. When it was all over, I was glad I had done it, but most of the time when it was actually happening, I was just kind of hanging on for dear life.
You are preparing yourself for a scene, and the most important thing is to remain emotionally available and remain in the moment with your scene partner. You don't want to let your own self-consciousness block the flow of creativity that's coming out so that you can act and react, and play what the scene is all about.
One thing I found very interesting about comedians around the world was their knowledge of stuff outside of their own culture and comfort zone. That's not very common in the States. We produce our own soft power, which is pop culture, but we rarely try to absorb and learn information from other cultures and countries.
There are directors, and I think this is true of all directors, it would be true if I was a director - If the actor didn't want to do what I was suggesting, I would let him do it his way, and then I would say to him, "Just give me one where you do what the director wants", and that, of course, is the take that's used.
When I was younger, I did work with coach. I went to this place called Actors Space in the Valley. I was pretty young, and we were doing acting and improvisation. But no, no I didn't go to RADA, I didn't do that. But I do now work with an acting coach, primarily for the initial intellectual connection to the material.
When I come to Chicago, I gorge myself. I get off the plane and start with Gene and Jude's for two hot dogs with everything, swing by The Fudge Pot for a taffy apple and a turtle, chocolate clusters at Sarah's Pastries and Candies and steak at Smith and Wollensky. I find time for Gino's pizza within the next 12 hours.
I think my recognizability ebbs and flows. I don't lead a particularly celebrity lifestyle or anything like that. I don't go to showbiz parties or red-carpet events, so it all depends on whether I've got a film out. I've not been very visible in the last year or so and as a result hardly anyone stops me in the street.
Also, I think having that comic gene kind of makes you look at things in a different way. If you take yourself so seriously, eventually you end up one of those people having a 'Do Not Disturb' sign on their lives. You see them drawing the curtains and they don't even realize that they've kind of drifted off somewhere.
I met the real George Steinbrenner on only one occasion when he actually came and played himself on an episode of 'Seinfeld.' He seemed to really enjoy himself. I did not get to know him, but the fact that he allowed himself and his beloved team to be satirized on our show is an indication to me of his true character.
Actors go, 'I just want to act.' And I say to them, 'You know, stop for a second and think about what charges you up the most. Do you want to be on the stage, do you want to be in film, do you want to be a comic actor? Do you just want to make it for the money and capitalize on your look and do commercials and soaps?'
You liked the freshness of it, c'mon try it" and I said "oh God, I read it three of four times" and finally I said "all right, I want you guys to organize a reading and I want you to be there to see how terrible this is not going to work at all", so we had a table like this, and read the script, and it was just great.
If you are leaping a ravine, the moment of takeoff is a bad time for considering alternative strategies... Do it in the 'closed' mode. But the moment the action is over, try to return to the 'open' mode... because in that mode we are the most aware, most receptive, most creative, and therefore at our most intelligent.
In a lot of movies, honestly, the directors don't talk to you that much. Maybe they say, "Faster, slower," whatever. Sometimes they give you little adjustments, because sometimes you want to start out neutral, but a lot of times you wind up directing yourself anyway, just doing what you think is the right thing to do.
Alice and I, we'd met before, but we were able to kind of sit and chat on the set of Dark Shadows, and talk about maybe writing some songs together. We started doing that, and then one thing led to another and it became this Vampire project - because he was telling stories about all those days, which were fascinating.
I think this movie, 'Moneyball,' symbolizes becoming a man for me, and I think my character becomes a man. It's important to me: I'm becoming a man. I'm taking my life seriously. I'm taking my acting really seriously, and it's important for me to play adults. It's important for me to change and develop as I get older.
The director is the most important because, ultimately, as an actor, when you watch a movie, it looks like an actor is giving a performance, and they kind of are. But, what's actually happening is that an actor has given a bunch of ingredients over to a director, who then constructs a performance. That's movie-making.
In fact, I am so happy to be turning 40 and finally having a reason to take responsibility for my own behavior. It's also worked for me in terms of my physical appearance and emotional make-up and people entrusting me to bring the things a role deserves. I don't know whether that's depth or being a curmudgeon or what.
I don't think it's very difficult to bring a virginal, angst-ridden, hip-hop grunting white boy to the screen. Not that I have any experience with that. I don't know man. I understood where his head was at, because he was this 18-year-old cat that thought he was a man, but didn't really know what it meant to be a man.
I know firsthand how much work has usually gone into a screenplay, so if there's something that rings false or a line that I would think would need a tweak or something, I will think long and hard before I even recommend changing it. In that sense, I'm very faithful to the scripts that I get - if they're good scripts.
For the gun work, I had more of the basic training from the previous [movie John Wick] and the weapon work I have done in the past. In the second movie [John Wick 2], it really went on into another level. I've done the three gun training, where you worked with the pistol, rifle and shotgun. So that all is in the film.
My parents brought us up in a very clever way, which was that they saw what we were interested in naturally, and then they encouraged whatever that may be. When I started sharing a keen interest in drama and the theater, instead of steering me away from it, they encouraged me to see plays and think about drama school.
The thing with kids is that you only get one chance to do it right. It's really important to share their gifts while they're discovering them. That's why spelling bees are such a compelling story. They stimulate them intellectually, they awaken their competitive spirit, but it's fun. There's something fun about words.
People are really surprised when they meet me that I'm a recluse. People think I'm very gregarious and outgoing - and I am - I'm thinking about writing a book about it called 'The Gregarious Recluse.' How the more that you put me out there in front of audiences, the more that when I have down time I have to disappear.
For every successful actor or actress, there are countless numbers who don't make it. The name of the game is rejection. You go to an audition and you're told you're too tall or you're too Irish or your nose is not quite right. You're rejected for your education, you're rejected for this or that and it's really tough.
Now, being one who lived in the era of Obama, there are so many markers of improvement made. It's hard to be mindful of that, in the same way you're going, 'Oh everything's cool now!' and it isn't. But I try to be mindful of how much of an improvement there has been because that gives hope. You need hope. I need hope!