Quotes of All Topics . Occasions . Authors
But then when I'm in a halfway successful movie, it irritates the hell out of the critics in New York, because they'd like to kill my pictures if they could. So maybe I'm pretty good in the movie. Then they use all these words like I'm 'surprisingly' good, or 'shockingly enough,' I'm good. It's like I crawled out from under a magazine and they're surprised I can act.
The voice is always in my head. In fact I aspire to be more like Mario. What could be better than rescuing and falling in love with a princess, right? Someone who faces every challenge in life with a cheerful Wahoo! In London a bike messenger stopped me and said ‘You’re the bloke who does Mario’ on an escalator. So naturally I go ‘Wahooooo’ all the way up the stairs.
I like LA. LA is cool, but it ain't like home. Atlanta is home. All my friends are here, I grew up here. But LA is cool. Its more like a big office. Its work and you work, and you're meetin' people all the time, but its more like acquaintances than friends and stuff.I wanted to cut down on the profanity, because I think I'm funnier without sayin' a lot of cuss words.
Can I confess something? I tell you this as an artist, I think you'll understand. Sometimes when I'm driving on the road at night I see two headlights coming toward me. Fast. I have this sudden impulse to turn the wheel quickly, head-on into the oncoming car. I can anticipate the explosion. The sound of shattering glass. The flames rising out of the flowing gasoline.
I'm going to keep talking about what I think is interesting for my entire career. If you want to hear about how women do a lot of shoe shopping or how being married sucks, go see the guy who does jokes about that. But if you come to see my live show, there's going to be 20 minutes on religion for the rest of my life, probably. If that makes me a caricature, so be it.
When I would knock about the town in London, I was doing it with my head down, walking very quickly and it had become the norm for me because I'm recognized there. And people are not unkind but occasionally there's a sort of British who do you think you are sort of, I don't really think I'm anybody. I just go about my normal day. But sometimes you're faced with that.
I like to take things as they come and, as much as possible, not force anything. I think I could wind up somewhere completely different five years from now, something completely removed from acting - I could be perfectly content studying photography or English literature. At the same time, I love what I'm doing right now and could see doing this for a very long time.
I think it's good if a man gives a woman some time to herself because I think we all need that and we can all benefit from that. It doesn't imply a rejection of the other person, just a sense that because we do have our separate identities, sometimes you have to be less involved in another person's life or need to have that other person be less involved in your life.
I feel that I have a certain amount of experience and I'm still learning so much. But a director's job is so vast; they have so much to do with the preparation. You have to be great with all kinds of personalities and you have to be very patient, there's a lot of skills I'm not sure if I have. So I don't know if I'm ready to direct, but who knows what the future has.
Oftentimes, a funny situation is funny because it's uncomfortable or weird. The most memorable stories, or the stuff that you repeat to your friends, it's not like, "Oh, I had a pleasant day, nothing happened on the bus today." It's when strange things happen, when you become uncomfortable or knocked out of your own reality, those are the things that are interesting.
What I like about [Berthold] Brecht, it's very interesting. When Helene Weigel came over and somebody talked about Lotte Lenya and said "well, she wasn't alienating." And Weigel said "No, no, no. Why, Lotte Lenya was so true - who cares?" She said: "Berti only developed the theory of alienation in order to stop bad acting." I heard her say that. Now that's brilliant.
I grew up in a theater family. My father was a regional theater classical repertory producer. He created Shakespeare festivals. He produced all of Shakespeare's plays, mostly in Shakespeare festivals in Ohio. One of them, the Great Lakes Theater Festival in Cleveland, is still going. So I grew up not wanting to be an actor, not wanting to go into the family business.
Sometimes when something really works well, it becomes a target, forty years for me, I've been a part, and I've loved every minute of it. My family has done so well with it. It's been a beautiful thing for me. I've saved lives with it and saved my own life several times. Through my loss of my son, it helped me every step of the way for two years solid, and here I am.
I was just in a few episodes the first season [ of Empire]. They didn't kill me, but I haven't been back in season two or three. I don't know if they have plans for me or not. But I enjoyed working on it. And I think it's a really talented group of actors and, boy, very enterprising to try and shoot those every week, you know, with musical numbers and all that stuff.
I want to be commercial, so imagine Disney people mixed with underground techno people... mixed with sass. An example of an underground techno person would be that French artist Yelle. She's all in French, so I can't understand a word she's saying, but her beats are really cool, and that's something that I want to do...but mix Disney in there, and that's what I want.
My parents, God bless 'em, were very supportive of me and my decision to pursue acting. Their dream for me and my sister was that we graduate from college. And as soon as I fulfilled that, they were extremely supportive of what I wanted to do next. I will always be grateful to them for that, because I wouldn't be where I am today without their help and encouragement.
There are things I've always wanted to do. Things I may not be able to do, but I never really ruled them out - like running a marathon. It's all a matter of timing for me. I suppose I could probably do it if I planned it out right with medication. I don't set a whole lot of goals. It smacks a little bit of will to me, and I find that will is not the way to go for me.
I feel entirely grateful and appreciative of being able to make something up and do it, and I'm very grateful how well it's gone. I'm a guy from Toronto who just wanted to be an actor since he was eight so it's all kind-of crazy. Shrek has been wonderfully successful, it did really well in the States, and so it's magical to me, still. I'm still that kid from Toronto.
Walking my dogs twice a day provides me with an opening and closing of my day, and I've learned to use those walks for a walking meditation, which had never occurred to me until a friend gave me Wherever You Go, There You Are by Jon Kabat-Zinn years ago. It helped me take advantage of moments that already existed in my day and turn them into something more expansive.
I've always felt like a kid, and I still feel like a kid, and I've never had any problem tapping into my childhood, and my kid side. And I think that's a very universal thing, I don't think it's unique to me at all. People I've talked to in their 60s, 70s, 80s, and 90s have all told me "You know, I still feel 20." So I don't expect that I'm going to be any different.
I really like the stuff that is very absurd and very real at the same time. I think Anton Chekhov is the greatest comedy writer of all time. I think he would make a great addition to The Office staff. If you look through Chekhov plays there is a lot of awkward pauses in there. His mixture of pathos, absurdity, truthfulness and whimsy is just mixed together perfectly.
Because I was familiar with Taika's Watiti work and there's a very subversive, funny streak amongst all of them. I don't think he turned [Hunt for the Wilderpeople] into a sort of drama, there's too much dark material underneath it for it to be a comedy; it wasn't designed to be a comedy. I think it's a comedy... I think it's a drama that's funny; which is different.
I was more into music, before I got into college. In high school, I used to play guitar and sing. I did a lot of that. But, when I graduated and went to college, I remember my freshman year and this girl from across the hall, who is one of my good friends to this day, had a brother who was in the school improv team. We went to go watch a show and it blew my face off.
I am so all over the place with my music taste, it's ridiculous. It is! I mean, I find myself listening to weird things like hardcore techno music and then I'll be listening to mainstream hip-hop music. But it's like I am so crazy with my music taste. I'll listen to a song, I'll become obsessed with it, and then I'm on to the next one. So it's just very inconsistent.
For the first 10 minutes after you meet them, they have the wattage and charisma of movie stars. Then you have a coffee with them and you realize we're all the same, we're all just people. All of the actors in The Avengers are so nice. Marvel has these code names for projects and the code name for The Avengers was Group Hug. It felt very much like a group hug on set.
The government sent the Indians to Oklahoma. They had a treaty that said, 'You shall have this land as long as grass grows and water flows.' It was not only a good rhyme but looked like a good treaty, and it was till they struck oil. Then the Government took it away from us again. They said the treaty only refers to 'Water and Grass; it don't say anything about oil.'
Being a bigger person, whether you're male or female, in entertainment, it can hurt your chances. Because people look to you to be a so-called superstar. Perfect body, perfect figure, good looking, and smart. And larger people, we have to fit in anywhere we can and the best way we can, so to speak. The way the world looks at you at being perfect, and nobody's perfect.
Playing Japanese characters and being in environments that are Japanese, like a character's apartment or whatever, if you have directors or art directors who just don't know what' s what with Japanese culture, then pretty soon something's just passed through. I've been through many times where I've pointed out the incorrectness of so much of what's been done to a set.
When I was a teenager and all these shows were on I was in that business, so I knew a lot of people in the theaters and I saw many of the great shows many times. I would go in and stand in the back - they would let me in, they knew me. I saw Fiddler on the Roof, A Funny Thing Happened on the Way to the Forum, Gypsy, and Funny Girl many times just standing in the back.
When I first went on [Facebook], I found there were five or six Creed Bratton sites. It was all over the place. I had to compete with other people saying they were me. It was nuts, so this is nice that people know that if they're gonna send something to me, I'm gonna be with my weird little mind looking at what they have to say. And what they're seeing is actually me.
I wish I could say I had some sort of master plan where one role leads to the next role, but a lot of it really is persistence and luck and being prepared when you are asked to jump on a project. There isn't any one rule that I follow. Obviously, I'll always shoot to work with the best actors, directors and filmmakers. I've been incredibly lucky to be able to do that.
When you're directing you're kind of interested in the movie and the story and the characters. I just sort of prefer the really tough fighting and some of the other street fighting type moves. You know, where it's not just show. It's not dressing it up for the cameras too much. It's pretty down and dirty, the way it should be. That's something I like to do. I do that.
There are some directors who don't like the set much. They like post-production, where you have all the ingredients in the can - you've got all the footage, all the music, the various effects - and then you have to do the alchemy necessary to make it all good, a long and very key process of putting everything together and making it into the cogent thing that you want.
As a writer, you know what the purpose of the scene is. It really has nothing to do with the actor so you have to really get out of that space because for actors it's a micro-focus and then you figure out your arc through what the writers have given you to say. But that arc is just one little piece of the huge arc of the whole film. It took a while to get out of that.
Working with Robert, Robert [Elswit] is a storyteller. He's not a cinematographer, he's a storyteller. And to me, that's the graduation I hope to get to in my profession. That I'm not just an actor, I'm a storyteller. And I think that takes a long time in, when you have one job on a movie set. Makeup artists, actor, whatever. To graduate from just that to storyteller.
You love the person for who they are, flaws and all. You can't help who you love, either. It comes from a different side of your brain than the logic part that tells you that this person is horrible for you - "You should walk away!" While you're walking away, the other part of your brain is trying to gain control of your bodily functions. "Turn around! She's the one!"
You go to the hospital your wife's in labor and you're doing the thing, and then it's very disorienting and scary and you beat yourself up and you go through a whole period of 'woe is me' and then you realize that this a gift, this child is the light, and if you can nourish that light and just let it shine, you have an opportunity to get closer to what I think is God.
Often, when you are upset and allowing your emotions to control you, forgiveness seems so out of reach. But once you let go and let God take control, you begin to realize that forgiveness is the only way to really win. True forgiveness is the only real key to happiness in your life. Also, sometimes it's not always an enemy you need to forgive, sometimes it's yourself.
When we kind of get caught up in the minutiae, the details that make us all different, I think there's two ways of seeing that. There's an opportunity to see the texture of that person, the characteristics that make them unique. And then there's an opportunity to go to war about it and to say that that person is different from me and I don't like you, so let's battle.
Sometimes you look at a painting and certain parts are so beautiful. You say, "Wow, this is fantastic," but 10 minutes later you most likely have to kill it. Every painting wants to live. You want to build and bring this type of painting to the climax. When it's at the highest point, you want more. And then if you want more, you might destroy it. So you take a chance.
You know, I'm really busted up over this and I'm very, very sorry to those people in the audience, the blacks, the Hispanics, whites - everyone that was there that took the brunt of that anger and hate and rage and how it came through, and I'm concerned about more hate and more rage and more anger coming through, not just towards me but towards a black/white conflict.
Well, here’s a scientific question: Has anybody ever seen hard evidence? What we get is theories from our earlier prophets. Now, people who think that God invented us think that the Earth can’t be more than 6,000 years old. So I guess it’s a question of belief. My belief system doesn’t support a creator as such, as we can call God, who created us in His/Her/Its image.
I guess it would fall into the stalker category more or less. I was being stalked by a mime - silent but maybe deadly. Somehow, this mime would appear on the set of 'Bringing Out the Dead' and start doing strange things. I have no idea how it got past security. Finally, the producers took some action and I haven't seen the mime since. But it was definitely unsettling.
I think it needs to be with a heart-based wisdom and this heart-based wisdom needs to go hand in hand with science and with social activism and love for our planet and love for our whole human family that spans the whole globe and this may sound very high and mighty or airy-fairy, but it's going to have to go to that or else we're just all going to destroy each other.
All you can do is make a piece of product, sell it on its own terms, stand behind it and hope that people will go see it. If you try to be like something else or appeal to any given group, then you can very easily end up being gratuitous and imitative. There's not much to be gained by that and I think too much time is spent going around trying to be like someone else.
My definition [of genius] would be about being completely involved in your art form. So that's outside of sciences. Within the arts it's about taking people on a journey, being able to involve me completely-whether you're singing a song, whether it's in the theater, whether you're dancing-if you can make me forget I'm sitting in a seat, that's my definition of genius.
New York is just New York. It's a hard city, it's a hard city to live in. It's a desperate city. It's filled with scam artists and people who are always looking for a way in and a way out and the majority of people have to really negotiate their way through that jungle to get to the other side; the other side being a place of tranquility and peace and home and safety.
I can tell you that my contribution based on my interpretation of the book is unchanged. The other things, in terms of doing the research and following the trail of it, were probably pretty similar to what I would have done then. I think that what makes me celebrate that it took the 10 years is the various other people and contributors that I ended up having on board.
There seems to be this tendency toward denigrating romantic comedies as of late because it becomes something sort of cheesy or whatever. Whereas this embraced what it was. As a fan of When Harry Met Sally or Annie Hall, as a demonstration of what romantic comedy could be and should be, I immediately phoned Nira back and said, "Yeah, I'd like to do this. It'll be fun."
There's no drama. There's nothing. Everyone is there to work, everyone is really kind and everyone is very helpful, especially to me. I went in there, hoping to learn. I could have easily been put on some project with somebody who really doesn't care about teaching or sharing. But, while I was there, all of the cast were very helpful. I would constantly ask questions.