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I was in school, but I wasn't into school. I wasn't doing what I wanted to be doing in school, which was film studies. That was what I intended on doing, but I didn't go away to a university because I wanted to stay in L.A. and audition while I took classes, so I elected to go to a community college and just take G.E. courses. It was terrible.
There was not an episode [on Perception] that didn't deal with some form of mental illness, either my own, or I would be the first to notice if a defendant did a certain thing that perhaps he was suffering from this. And so we got to do some really outspoken stuff for what was otherwise a crime-solving show. And it was just a really good team.
I think that cinema and the arts are central in our lives because we grow up and learn about the world through our exposure to stories. Parents use them as a tool to teach their children fundamental truths and values, much as adults can view them to gain exposure to cultures and individuals that they'd never be able to view in their own lives.
I used to make my living by understanding people. And the way I learned to understand them was by observing them. I would sit in a train station or a bus station or a restaurant. And I would watch people. I would watch how they related to one another. I would try to get some insight into them and make them as predictable as I could in my mind.
There are roles out there I want to play that I don't know if I'll ever get the chance to. But I'm not going to waste time waiting for those phone calls, passing up the chance to do these sorts of things. I'm more likely to go see a smaller, darker indie film, like Felony for instance, than I am to see an Avengers or perhaps even a Terminator.
When I was 9, I auditioned for an arts school in Toronto with a few of my friends. The sole reason we auditioned was that we found out you got to miss a couple days of school to do the audition. Without actually wanting to go to arts school, I accidentally got in. My parents encouraged me to try it, and I ended falling in love with performing.
I like to think that people can see that and appreciate that idea and then, by some mechanism of wearing the fragrance, sort of carry that idea with them in their own life. Whether it's a weekend in Louisiana or in New York City or in Venice, Italy, or wherever they may be. I think there's something kind of fascinating and powerful about that.
I'm learning a lot how to be good at what I do and also how lucky I am and take it all in and be grateful for all this late in life success I've been having and it's good to have people that have been around and successful for awhile and work with them and see how they behave and it's why they are who they are and why they're still successful.
Kind of the exhausting thing about doing pure comedy, or something that's broader, is you're kind of a slave to the laugh. If it's not funny, then there's not much point in doing it. The kind of ueber-objective is to make people laugh. You always have to have that in the back of your mind, 'Eh, I've got to figure out a way to make this funny.'
Having been an actor in Hollywood for a certain amount of time, I always felt a pressure to be sort of a neutral person. 'Don't do anything to your hair. Don't tell them your age. Don't tell them you're gay. Don't tell them anything that could limit you, specify you as a person.' I always hated that, actually moved out of L.A. because of that.
It seems to me that one thing people do over and over again is try to figure out how to get married, stay married, fall in love, how to rekindle all this stuff. It seems to me to be a pretty eternal theme so I don't know if you can get typecast from making movies about men relating to women. It seems to be what is going on on the planet a lot.
The message is one of the beautiful things about the film. And I think part of the appeal is simply that they are prehistoric creatures, they are no longer around and that makes them magical and makes us feel quite emotional, because we know that those creatures did not survive in the long run, so there's poignancy in their fight for survival.
I didn't want to be the archetypal sponging brother-in-law, so I didn't go into acting when I got to the States. I thought, 'No, I'll go to school and then I'll be an English teacher; that'll be fun.' But I was horrible as a teacher. As hard as I tried, I just couldn't inspire those kids to take an interest in Milton and Shakespeare and Donne.
I'm from a working-class family. We didn't have a lot, but we had the arts. You're talking to a guy who is making a living at doing what he loves doing - acting, singing and dancing. So any career ups and downs were not that significant to me; the only things that really powerfully impinged on me were my losses, and there were many in my life.
I don't have a lot of experience to draw from. I had my first kiss when I was 17 or 18. The second time we kissed I got a little excited and I was wearing these really loose shorts that didn't leave much to the imagination. I tried to angle my body away and divert her eyes by saying, "Hey, look at the stars." From then on I wore tighter jeans.
I never coast through a workout. This is been great for me physically, but it's also become a problem in two ways. One is that no matter how I'm feeling on a given day, I will absolutely kill myself in the gym, and it takes a huge amount of energy do that. I commit 110 percent. The other problem is that finding a workout partner is impossible.
I did this one movie with a great director named Wayne Kramer. It was 'Crossing Over,' and Harrison Ford, Ashley Judd and Ray Liotta were in it. I was one of the leads, and I thought this was it. It got shelved for two years, and then it was in theaters maybe a week. After that, I adopted a philosophy of, 'Hope for the best, expect the worst.'
I always want to read the script and know everything and at least understand the context of the world that you're in and why you're there and all that stuff. It's good to know something. I like to know, but I've never been one of these, 'Just show me my stuff,' no, I like to know what the whole picture is so I can understand how I fit into it.
Outside of, as a kid, just wanting to be able to fly and run faster than a speeding locomotive and being able to leap tall buildings in a single bound, we'd like to hope that, when push comes to shove, we can do the right thing. I think as long as there is that hope in our society and in the zeitgeist of superheroes, Superman will be relevant.
Obviously, when you finish something like 'White Collar,' there are so many opportunities to just do something similar because people want that kind of thing, and I really have tried to stretch myself out, for better or for worse. I hope that I'm able to get to continue to do that, as an artist, and I'm not the guy who shows up to be charming.
I've been acting a long time, and I can play a Cockney gangster or a womanizer in my sleep or standing on my head. But what I try to do is I try to find characters that are as far away from me as I possibly can and then make them real. A French Nazi is about as far away from me as I can possibly get without actually going to Mars or something.
There's an idea I came across a few years ago that I love: My happiness grows in direct proportion to my acceptance and in inverse proportion to my expectations. That's the key for me. If I can accept the truth of 'This is what I'm facing - not what can I expect but what I am experiencing now' - then I have all this freedom to do other things.
That's probably fair to say that there is a certain amount of pressure to deliver your next role when you do have a fan base as potent as the 'Battlestar Galactica' family. There was certainly a lot of curiosity to all of us on that show - what are you going to do next? Where can we see you next? That was a question we got more often than not.
I wasn't a jock in school, and by the 10th grade, when I was in boarding school I was carrying water buckets for the girls' hockey team. I was the kid with long hair and glasses and acne trying to learn how to play guitar and piano in the music center. I was not an athlete past the age of 13 or 14 when they start throwing the ball really fast.
There's not a day in my life I'm not proud of being gay, but I just wasn't ready for that attention to be placed on it. I remember being on Oprah. Well, not on Oprah. Near Oprah. She started saying, 'Now, Nathan, you got all those girlie moves going down in 'The Birdcage,' where's all that coming from? You're so good at all that girlie stuff!'
One of the worst things about being an actor, besides people being nice to you and getting free stuff all the time - but really, one of the worst things is not knowing what's coming next. You could shoot a pilot, and they could have you on hold for six months waiting to find out what is going to happen with the show, and you're locked into it.
I followed a girl I met in Japan to Los Angeles and ended up working in a motorcycle store. I quit the job one night, went to a party in the Hollywood Hills and ended up yelling at a bunch of people. Someone saw me yelling and asked me to be in a play. The first night, there was an agent in the audience who took me on and sent me out for jobs.
I watched 'Freaks and Geeks,' and I was like, 'Oh, if you write about your own personal experiences, and if you're specific about it both in what happened and how you felt about it, it can make for scenes that are really compelling.' For the rest of college, I was basically ripping off 'Freaks and Geeks' with plays I wrote and stuff like that.
I think that just sitting down and having casual conversation is the hardest stuff to do. But the extremes? I know what it feels like to come racing around the corner at 90 miles an hour, sliding the car sideways. I know what gear I'm hitting it in when I'm coming around the corner and where I need to downshift. So to me, that's the fun stuff.
When I first heard 'A Christmas Story, the musical,' I thought, Oh, that could be really good. It just felt like it fit. Some films lend themselves well to other formats, some don't, but there are so many fantasy sequences in the film, and Ralphie's such a dreamer as a character, I thought they could really lend themselves to being set pieces.
People are always talking about freedom. Freedom to live a certain way, without being kicked around. Course the more you live a certain way, the less it feel like freedom. Me, uhm, I can change during the course of a day. I wake and I'm one person, when I go to sleep I know for certain I'm somebody else. I don't know who I am most of the time.
I think 26 is the turning point. I’ve got to make up for 10 years of living like a degenerate. I’ve suddenly become conscious of being unhealthy. You’ve spent every bit of free time since [the age of ] 15 in a pub. And suddenly you’re like, ‘Oh God, I don’t want to be this grey ghost sitting there with a pot belly. I’ve got to get it together.
This was only Taika Watiti fourth film [Hunt for the Wilderpeople], but I think he brings a very original way of looking at stuff and I think if you look at Boy, for instance, which is a beautiful film, that was his second feature, and it's heartbreakingly sad, but it's also simultaneously very funny. There are not many people who can do that.
And that's the thing about our show: what are they going to do put on the poster? I don't know. It's always easier when you have someone like Cedric the Entertainer where you can go, "You know this guy. You love this guy. Watch his sketch show." And then people tune in and go, "I though I knew that guy. I don't love that guy in a sketch show."
The actual getting into the gym and working out process was easier, but the eating was harder. I had to eat every two hours. At one point, my trainer said, 'Put anything in your mouth. Go to McDonald's, get the biggest shake possible. I just need to get calories in you.' Because my body fat at the time was only, like, seven and a half percent.
Our family business was operating batting cages. The pitching machine spit out the balls at lightning speed. Don Drysdale, Sandy Koufax. Whitey Ford. 50 cents for 12 pitches. Of course, my mother ran the place, and I was her slave: selling candy, hosing down the street, and the most dreaded of all jobs, feeding the pitching machine with balls.
An actor is supposed to emulate life. Instead, alas, many are imitating other actors. You don't fashion your knowledge of theatre or your approach to a role on the basis of what other actors have done. This kind of thinking is a great danger, especially in dealing with TV producers who frequently say things like, 'This is a Sean Connery type.'
I'll only work on TV shows that have a 'Sookie' on them! Those are the only shows that will cast me. And I've never even met a Sookie in my life. Sookie on 'Gilmore Girls' was played by Melissa McCarthy. And Sookie, played by Anna Paquin, is number one on the call sheet on 'True Blood.' Somebody should write another script with a Sookie in it.
I THINK IF YOU'RE GOING TO BE CONVENTIONALLY ROMANTIC YOU'VE GOT TO GO ALL THE WAY: A BEAUTIFUL DINNER SOMEWHERE LOVELY, WITH BOAT-LOADS OF FLOWERS, CHOCOLATES AND CHAMPAGNE. BUT IT MIGHT ALSO BE NICE TO WRAP UP WARM AND SIT ON A ROOF SOMEWHERE, WITH A CUP OF HOT SOUP AND YOUR GIRL, WATCH THE PLANES COME IN OVER LONDON AND LISTEN TO THE NIGHT.
'Friends' started because Rachel left her husband at the altar. This likability factor is just so stupid to me. It's the same thing as 'wish-fulfillment,' which is a big word you hear in a lot of Hollywood rooms. It basically means that people want to see other people living a life they can't lead, and I don't buy that. I think that's not true.
I'm Adam Richman. A food fanatic who's held nearly every job in the restaurant biz. Now I'm on a mouth-watering journey to find America's greatest pig-out spots. And take on the country's most legendary eating challenges. I'm no competitive eater, just a regular guy with a serious appetite. This is my ultimate hunger quest. This is Man v. Food.
If you do a quantity challenge, the problem you'd face would be a starchy challenge. If it has a lot of potatoes, a lot of bread or fried elements, that's difficult. With heat challenges, challenges that use the whole pepper are much, much easier than ones that use pepper extract. That's concentrated, and also devoid of flavour. It's just heat.
I have so many [on-set Glee BFFs]. I love Kevin (McHale). I love Amber (Riley); Amber and I are essentially the same person, even though one’s fiercer than the other—don’t tell her it’s me. I love Chris Colfer, he’s a gem. Melissa (Benoist) and Blake (Jenner), I love them. We’re such a tight-knight family because we spend so much time together.
Yeah, I mean I've definitely had a bunch of action scripts sent to me, but again I'm a stickler for directors. If it's like an action flick with a great director then it's like 'Oh let's look at this thing,' but if it's just like a shoot-em'-up with a first time director. I don't know if that's the trajectory I want to take with what I'm doing.
I would like to change everything, but obviously not everything. I've been incredibly fortunate. I guess everybody would do this, but I'd go back to my younger self and say, "Lighten up. Take it easy. Relax. Don't be so anxious about everything. Try to be in the day. Try to not have today stolen from you by anxiety about yesterday or tomorrow."
You know, what's popular? Okay, vampires are very popular. Let me make my vampire movie. I'm not saying you can't make a vampire movie. But if you're going to do one do something crazy. I mean don't just get a bunch of, like I said, models and make them into vampires so you'll get an audience. You know maybe get some ugly vampires for a change.
I'm not around real dead people all that often - most people aren't - but when you are, you tend to be very, very respectful and quiet, and people do tend to whisper 'cause you're trying to show massive amounts of respect, but if this is your daily life, you have to figure out a way to go about it and not go insane by the time you reach Friday.
If you're playing a good guy, you show some darkness. If you're playing a dark guy, you show something different, like humor, that will mix it up and hopefully surpass the audience's expectations. What I'm battling all the time is complacency in the audience. I try to bring a little mystery to what might happen because that engages people more.
People really do identify with the characters they see on the show, but these days, social media allows you to interact with fans in a really interesting way. On my Twitter account, I'm Chris Carmack, not Will Lexington. I interact with fans and joke with them. I'll post pictures from my life. I think that helps drop the curtain of a character.
I feel prematurely old. I'm actually having this major belated quarter-life crisis. I'm turning 30 in a couple of weeks. I've been thinking a lot about mortality. A lot about what I'm going to do with my life and how to enjoy it. One of the things I'm going to work on is being more spontaneous, letting go, embracing the beauty of come-what-may.