Quotes of All Topics . Occasions . Authors
It is the task of the scenarist to invent little pieces of business that are so characteristic and give so deep an insight into his creatures, that their personalities clearly and organically unfold before the eyes of the audience so that the latter feel that the actions of these people are contingent upon their characters, that there exists some kind of a logical fate, and that nothing is left to mere accident or coincidence.
Ideally you do want people to treat you professionally in return, but not everyone necessarily does that. This acting job - it pays very well and you get to live a wonderful lifestyle, but it's something that I love doing, so I want to work with other people who enjoy it as well ... Maybe if I met the Queen I'd be nervous, though I'd probably be more nervous about doing things the right way because it's a very formal occasion.
My dad one time told me, he was like, 'The only time you should lie is when someone's holding a gun to your head and says 'Okay, lie or I'm going to shoot you.' And that really stuck with me. I think about that a lot. I used to not be really honest with girls and then I dropped a song called "Starry Room" and then I started turning over a new leaf. Now, I'm completely honest with girls all the time and they just get mad at me.
The fact is that in England so many of our politicians are career politicians - they've always been politicians since they left their education. And in the old days of course politicians used to be fish mongers or doctors or whatever. They'd lived life. These days, power seems to go to the hands of people that that's all they've done. And I'm not sure that's a good thing, because it does remove them from the realities of life.
I think so many great artists are flocking to LA because the downtown art scene is so vibrant, there is cheap living and you can really flourish as an artist there. There is an unbelievably supportive and really smart, talented theatre audience in LA full of young, hungry, vibrant people. It's something that sort of makes me think of what New York must have been like in its downtown theater scene in the 1980s - before my time.
I changed my major to English and I went off to Fort Collins. And within the first couple of weeks, I noticed that they were having auditions for a production in their theater department. They were going to stage Jean Anouilh's Becket, which was a film I loved, with Peter O'Toole and Richard Burton. So I went down and auditioned, and I got the role. I got the Peter O'Toole part. So here I was, a 19-year-old playing King Henry.
Once you realize you can make people laugh, it's a superpower. When you're really young, you don't know how to use that power, so I would just say the meanest things I could to get a laugh. I was so awful. I would make fun of kids who didn't deserve to get made fun of. I was just mean, when I was really young. You don't realize that you don't have to be mean to be funny. But, it was something that I was just able to grow into.
I was quite intimidated by Ralph Fiennes. I didn't really talk to him while I was doing Harry Potter and the Goblet of Fire and the only thing I did with him was when he stepped on my head. Then I went to this play and he was there. And this girl said, “you've worked with Ralph Fiennes haven't you, Robert?” and I was like, “well, no...” and Ralph said, “yes, I stepped on your head.” And that was the extent of our conversation.
[Hollywood] studios are handing out money to make independent films now, but they all want the same thing. They want the style and the deadpan delivery of RESERVOIR DOGS or FARGO and so they imitate those movies. They want PULP FICTION, but they get it all wrong! They get the detachment, but that's it. And then it's all about style, and in the end what do you learn about the characters? Nothing. You learn you wasted two hours.
Honestly, people told me to. It was weird, I graduated from school, I never thought I'd live in L.A. and I always wanted to be to New York. I assumed that would be my trajectory - that romantic ideal of moving there and doing plays Off-Broadway and being scrappy about it. Then we did a showcase in New York and a showcase in L.A., and for whatever reason the response that I generated in L.A. was significantly more enthusiastic.
Performing as a musician is a lot different than performing as an actor. As an actor, you can hide behind the character in the play, and there's a director and other actors. When you're a musician, you're right there. It's sort of like being a comedian. You're giving the audience in real time something authentic from yourself. As an actor, my bullshit meter was going off like crazy at my first attempts to find my own rock star.
At Waco, was there really an urgency to get those people out of the compound at that particular time? Was the press going to make it look heroic for the Bureau of Alcohol, Tobacco, and Firearms? At Ruby Ridge, there was one guy in a cabin at the top of the mountain. Was it necessary for federal agents to go up there and shoot a 14-year-old in the back and shoot a woman with a child in her arms? What kind of mentality does that?
When we were not shooting [The Hangover] we were sleeping, so pretty much every waking moment we spent together. And, you know, Bradley [Cooper], Zach [Galifianakis] and I were acquaintances before the movie started but we became good friends very quickly and spent so much time together that it was just inevitable we were either going to really hate each other or really like each other. Thank god it turned out to be the latter.
What I learned about acting, from my experiences directing, is why so many producers and directors don't like actors. You go through all of this work securing a location, figuring out how to get electricity there, how to get trucks parked where they need to be, and where catering is going to come from. And if the actors don't come up with some magic, it actually didn't matter. That creates a lot of animosity towards the actors.
The old ways are dead. And you need people around you who concur. That means hanging out more with the creative people, the freaks, the real visionaries, than you're already doing. Thinking more about what their needs are, and responding accordingly. Avoid the dullards; avoid the folk who play it safe. They can't help you anymore. Their stability model no longer offers that much stability. They are extinct, they are extinction.
Most people don't know what they want or feel. And for everyone, myself included, It's very difficult to say what you mean when what you mean is painful. The most difficult thing in the world is to reveal yourself, to express what you have to... As an artist, I feel that we must try many things - but above all, we must dare to fail. You must have the courage to be bad - to be willing to risk everything to really express it all.
I've been a fan of Mads since the “Casino Royale” movie. I really sat up and paid attention to him. I was like, “Who is this motherf**ker?” Even his work in something as sort of popcorn as “Clash of the Titans,” he brings a kind of danger and reality and he grounds it in such a way that you think, yes, I'm good to work with this guy. I should come back, just stay behind him. (Laughs) Our working relationship has been fantastic.
After we did [All In The Family], that ended up being a real love fest all around. Me and Norman, Norman [Lear] and me, Rob Reiner, everybody liked everybody. So about six or seven months later I moved out to L.A. and I got a call that Norman wanted to see me. I came in and he said "ABC has given me a property that they just optioned to make into a TV series. It's from a play called Hot L Baltimore, and I want you to be in it."
Luckily Ryan Murphy has a great track record of really having his finger on the pulse of pop culture in a way that very few people do. And he is able to work things into stories in a ridiculously timely way - sometimes, before anybody else thinks it's going to be a thing, he is able to create these moments on television. I was thrilled to get to work with him, and I knew he would be able to tell that story with that same energy.
I try to just be open to what the next experience is and how it makes me feel, just reading a project, or trying to get involved with a project, or thinking about a project, and what particular emotional flavor that brings. To me, it's never really about planning the next thing, or the career arc. It's about investigating how I feel, from project to project, and finding things that I haven't explored and what that would be like.
You could make an analogy to a security guard who, three weeks prior, was mowing lawns for a living. The second he puts a uniform on and that badge, he's a man. I imagine the majority of us have felt the wrath of the over-zealous security guard guy. Is there something lying dormant in the man, that's waiting to be pumped up with that kind of power? I don't know. Does it reveal him? I don't know. Does it change him? I don't know.
Sometimes when you hear so much and everybody is praising you, you can get lost in that. You can start thinking that you are on a higher pedestal than everyone else. So I try to stay level headed, humble and the best way to do that is to not really acknowledge it that much. I just keep grinding and working as hard as I can. I also set my goals higher so that I don't have time to be content with my place in life and in my career.
I don't have to change anything. I think that's the secret to comedy. You want to be universal and appeal to everyone. You want to put yourself in a position that no matter what you're talking about, everyone can relate to it and understand it, because it's an experience that everyone can go through. That's what I pattern my writing material and jokes after. I'm trying to maintain a level of realness that my fans can appreciate.
I do read some of the scripts from America and, even though the themes or subject of the film is very interesting, and some of the scenes are very interesting, there is a tendency that they have to explain everything. There will be no dilemma. This guy was evil, and this girl was very sweet. And in the end, we'd have to see eight endings because we'd also have to know what happened to the uncle. It's like, "Are you kidding me?!"
I'm now unemployed. It's a weird feeling with no work, but at least there's still golf. Standup comedy is like my core, it's what I do. But I want to be a pro golfer. It's a love/hate relationship with golf. I can come away feeling so serene, and yet, it's the thing that I can let get to me to throw a club and say curses that don't even exist. I'm obsessed with something that won't let me master it. I don't know. I need therapy.
It's that idea that you can have one drink - and no you can't. Within a week I was drinking heavily. It was so quick that even I was like, 'Wow.' Because you have that initial warm feeling going, 'Oh, I remember this'. And your body does, too. And your body goes, 'Yeah, so do I'. Then the demon voice comes, 'Yeah, so do I. You know what would be great? You know we bought a little bottle before? A full bottle would be wonderful'.
There were two things that became apparent, pretty quickly into the process. One was that the muscles didn't take as much reconditioning as I thought they would. It was more like voice acting than I thought it would be. You're using your whole body and there are things that are different, but when you are doing a character, even in the booth, nobody is watching but my face will do different things when I do different characters.
When you're going over periods of your life, you remember certain things, certain events, certain people that you've forgotten. You've forgotten certain lessons or people you were very close to, and then you haven't seen them in a while. I think if you can go through life with the correct regrets, then looking back on it, like I did, a certain portion of my life is pretty enjoyable. All my regrets are ones that I'd like to keep.
My father told me never to take my foot off a ladder to kick at someone who was kicking at me. When I did that, I would no longer be climbing. While they are kicking, my father told me, I should keep stepping. They can kick only one time. If I continued to climb, they would be left behind. In trying to hurt me, to impede my progress, they would get left behind because they allowed themselves to get sidetracked from their agenda.
I believe that a healthy lifestyle isn't just a regular exercise routine or your eating habits, but a synergy of a healthy mind and body. To fuel my body, I am relentless about never eating anything that isn't of this Earth. I have no interest in putting stuff in my body that's made in a lab. Movement is vital. Whether it's running, cross training, hiking with the dogs, or walking the streets of New York, I am constantly active.
Meanwhile someone is shining my head to get it dry to attach my top-hat to my head with toupee tape. I get into microphone and get back up into my dressing room for the rest of my costume. I get snapped into all these things and layers and bundled up. I walk downstairs to the pit. Someone hands me my baton (which lights up like a wand) and I watch the first three minutes of the show. Then I come up out of the pit and there I am.
The actor's always as good as the stories are. And so many important things, there is the light, there is the costumes, the makeup, there's the text, there's so many elements which the actor himself cannot control. But the script is the most important thing. First of all the story, and then you go from there. You know, it's like you stand in the kitchen, and say are we making a fish or do we grill a steak? And you go from there.
The first thing that happens is the cleansing of the former character. I don't think a lot of actors talk about it, but there is usually a process where you essentially purge yourself of the character played prior to the movie. Then you want to think about what the character represents, and you write down all of the elements about this character and then take the time to find some synchronicity and start breathing the character.
I arrived at my hut in Beverly Hills just in time to keep real estate men from plotting off and selling my front yard. They will sell you anything or anybody's in the world as long as they can get a first payment... It used to be only Iowa that was out here but now they have three or four adjoining states interested and they are here, too. Real estate agents - you never saw as many in your life; they are as thick as bootleggers.
I think a lot of that is what helped me develop my character. I wouldn't say it was Method, but it was definitely a little more in depth than I've done before in terms of acting. With the other kids, we all were such good friends by the time we started shooting. Because of that, it allowed us to trust each other more to push the dynamics of the relationship to places which you might not be able to had you not trusted that person.
There's a weird loneliness that comes with being a comedian, especially standup. Even with improvisers, I think there are certain moments of truth where you feel really, really connected to audiences, and that's when you're on stage. I think there's definitely something inside the personality of a person who wants to be a comedian that's looking to connect at all times. That's where the adrenaline rushes in their lives come from.
Yes, (Bush is a) racist. We all knew that but the world is only finding it out now. As Texas's governor, Bush led a penitentiary system that executed more people than all the other U.S. states together. And most of the people who died from (the) death penalty were Afro-Americans or Hispanics. (Bush) promoted a Conservative program, designed to eliminate everything Americans had accomplished so far in matters of race and equality.
At first, it was really weird after being a touring stand-up comedian that wears just jeans and a shirt. But now, it's almost like when you go from Clark Kent to Superman: "All right, I've got to go put on a suit and interview Justin Trudeau." It feels like it's part of the process. Oddly enough, I've been in enough places - they sometimes send you to places that are a bit scary - that I know how to run in a suit. Like, run fast.
When an actor plays a scene exactly the way a director orders, it isn't acting. It's following instructions. Anyone with the physical qualifications can do that. So the director's task is just that – to direct, to point the way. Then the actor takes over. And he must be allowed the space, the freedom to express himself in the role. Without that space, an actor is no more than an unthinking robot with a chest-full of push-buttons.
I like the adrenaline of live performance, whatever that is, appearing in front of an audience of any kind, whether it's one or a hundred or a thousand. It gives you a buzz of adrenaline, its exciting. The thing about that is that you want to make those nerves work for you in terms of an energy that's appropriate for the part and the performance, and not to distract the people who are watching so that they become nervous for you.
People have different goals, when you start out making a movie. If the goal is darkness and destruction and despair, it's not like, "Hey, let's go to set, and then let's hit the bar afterwards. Let's jaunt into London and pick up some Chinese food." No, you go home from set and you go fight at the gym, and then you go to sleep. You stay in it. You never excuse yourself, you never take it easy on yourself, you never eat good food.
If you are walking down the street, camera in your hand, loaded and ready to shoot. You see a person falling from a high building, either having fallen or jumped. That person is falling through space. You don't shoot that photograph unless the theme you are working on has to do with the effects of space on the human figure. If you simply photograph that event because it is an event that is happening, you're doing photojournalism.
I saw an advertisement the other day for the secret of life. It said "The secret of life can be yours for twenty-five shillings. Sent to Secret of Life Institute, Willesden." So I wrote away, seemed a good bargain, secret of life, twenty-five shillings. And I got a letter back saying, "If you think you can get the secret of life for twenty-five shillings, you don't deserve to have it. Send fifty shillings for the secret of life."
The biggest danger we face is overfishing. We literally could fish out our oceans, some scientists believe, in the next 40, 50, 60 years. We are fishing out the top of the food chain, and it's pretty crucial because about 200 million people depend on fish and fishing for their livelihood, and about a billion people, mostly in poorer countries, depend on fish for their protein. So this is a big problem. Good news is, it's fixable.
I gave myself permission to care, because there are a lot of people in this world who are afraid of caring, or afraid of showing that they care because it's uncool. It's uncool to have passion. It's so much easier to lose when you've shown everyone how much you don't care if you win or lose. It's much harder to lose when you show that you care, but, you'll never win, unless you also stand to lose. Don't be afraid of your passion.
What I've found about it is that there are some folks you can talk to until you're blue in the face--they're never going to get it and they're never going to change. But every once in a while, you'll run into someone who is eager to listen, eager to learn, and willing to try new things. Those are the people we need to reach. We have a responsibility as parents, older people, teachers, people in the neighborhood to recognize that.
Well, actors get very frustrated with giving control to other people. They have their own ideas and wants for their characters. Warren Beatty once told me that he thought actors ended up directing out of frustration. If you have a strong sense of how to communicate a film, you should direct. The problem is that it is a huge commitment. I'd rather direct a play than a film due to the time. A movie can tie you up for a year or more.
The funny thing about our act is that dad gets the worst of it, although I'm the one who apparently receives the bruises [...] the secret is in landing limp and breaking the fall with a foot or a hand. It's a knack. I started so young that landing right is second nature with me. Several times I'd have been killed if I hadn't been able to land like a cat. Imitators of our act don't last long, because they can't stand the treatment.
Friends have asked how I came to engender this American antagonism. My prodigious sin was, and still is, being a non-conformist. Although I am not a Communist I refused to fall in line by hating them. Secondly, I was opposed to the Committee on Un-American Activities - a dishonest phrase to begin with, elastic enough to wrap around the throat and strangle the voice of any American citizen whose honest opinion is a minority of one.
The Internet seems like a safe house for the opposite mentality, for cynics and for jerks and for people who want to lash out. And it's a valid thing. It's a valid forum and I'm not going say that they aren't valid feelings. But it's sad. Considering the potential that something like the Internet, that connects so many people, has for good. I think it's sad that it's used so often for nothing but unfounded, overzealous negativity.