Quotes of All Topics . Occasions . Authors
My castings sort of go in phases. There'll be several icy professional parts - a lawyer or a cop. And then there'll be the intelligent-but-wounded group and then the period things. It goes in sequence.
When I was 13, Eddie Murphy was to me what Chris Tucker was to 13-year-olds when I made 'Rush Hour.' And 'Rush Hour' really came out of the fact that I grew up watching 'Beverly Hills Cop' and '48 Hrs.'
Apparently, an undocumented side effect of dope is a gross overestimation of one's own intelligence. Dopers become convinced they've hidden their stash so well a cop won't find it. They're always wrong.
There's really no such thing as an 'ex-cop' or a cop who's 'off-duty' or 'retired.' Once trained, once indoctrinated, a cop is always alert, assessing reality in terms of its potential for illegal acts.
I actually met a cop who worked with street gangs. I wanted to understand what drives someone who deals with very hardened criminals on a daily basis. How do you turn that off when you go home at night?
It has happened with me that I get a role of a cop for a film. Few directors typecast you if you do that particular role well. But, it is the actor who has to decide whether he fits in that role or not.
First, I'm trying to edit down about 7 hours of material which I made prior to the Cop days and find some way to get it out. This stuff is pretty out there, mostly sonic collages and tape manipulations.
On 'The Messenger,' just imagining playing the part of a soldier in that movie was kind of hard for me. And in 'Rampart,' the idea of playing a cop was even harder. It was hard to imagine myself as a cop.
Children ran up to me shouting, 'Columbo!' At first, it gave me great pleasure, but later, I said to myself that those children should have had their own heroes instead of admiring a cop from Los Angeles.
Frankly speaking, ever since my debut, I have been offered cop roles. However, I never felt confident about pulling them off, probably due to my short physique or the absence of the required traits in me.
People are used to watching cop shows in which the cops are very straight down the line and they solve the crimes, but I think people actually have a much more sophisticated and varied view of the police.
My dad was a homicide cop in the gay neighborhood in the city when gay neighborhoods were desperate, depressing, sad places run by the mob. The only gay people he'd met when I came out to him were corpses.
In 'Dhil,' my character wants to become a cop, and those who want to become cops have a small waist. In 'Saamy,' where I play a cop, my waist is thicker. Because after you become a cop, that's how you look.
Cop families have guns in their houses. It's a bigger question for mothers. When is the right time to introduce to your children the things that could hurt them? But not having the knowledge could hurt them.
I never worried about becoming typecast. People have said that to me, but I never worried about it. As long as the part is three dimensional, I'm okay with it, whether the role is to play the heavy, the cop.
Most investigators don't even know what the word means. You stop the cops from using informants and the only crimes they'd ever solve would be those by deranged postal workers who come to work once too often.
In cop shows, the police don't get to rag on each other and rag on their commander and rag on the person they just pulled over. That was all 'Reno' was, and I think that's all cops do 90 percent of their day.
The Violence Against Women Act is so important. It provides money to train the cop on the beat, to train the judges that this is a new day, that we won't tolerate this violence and to know how to deal with it.
Star Trek wouldn't die. There were a whole lot of young people who were touched by the thought process of science fiction. If you watched a cop show, there wasn't anything that was going to stimulate your mind.
My acting range is incredibly limited and narrow, but I'm a good heavy. I'm a good authoritarian figure; I don't know why. "Can you be a cop?" Sure. "Can you be a Marine?" Absolutely. Well, at least in a movie.
It's funny, I was talking to somebody who writes for a cop show, and he was saying how they aren't allowed to acknowledge Christmas, Thanksgiving, Valentine's Day, just because it has to be able to play forever.
I don't know what it is about me and this cop thing, but I get a lot of cop offers. Everyone always assumes that I'm someone on the force, but as long as they are paying me, I will play a cop until the day I die.
When he ran from a cop, his transitions from accelerating walk to easy jog trot to brisk canter to headlong gallop to flogged-piston sprint . . . were as distinct and as soberly in order as an automatic gearshift.
I know an actor who would play one type of part but could never get cast as tough. Once he got cast as tough, as a cop, he only got offered cop roles. It's a funny business in that regard. It's all about perception.
Joseph Wambaugh did not invent the police novel, but no one had seen anything like 'The New Centurions' when it was published in 1971. Here was a working, living, breathing cop with a decade of experience on the beat.
My character in the first instalment of 'GOW' was very shy and reserved. It was completely different from 'Kahaani,' where I played a no-nonsense cop. And in the second instalment of 'GOW,' it is again very different.
I felt like hip-hop was my music, it was like my outsider music... but then my mom started answering our phone, 'Yo, what's up.' She was hearing me talk to my friends. I was like, 'No, mom, don't cop the hip-hop talk.'
You can't always be 100-percent positive that a joke will work, so you've just got to try it. Fortunately, if one new joke doesn't work, I've got lots of old ones that do. Just like cops, it's important to have backup.
I can remember when anything further downtown New York than Canal Street was risky and the whole area still looked like a '70s cop movie location; when the original loft-owners were more dash-than-cash, artistic types.
I might be doing the most challenging roles, like the cop role in Mynaa,' but it is these dance numbers that get written and spoken about. But I have no qualms doing them as I'm enjoying all the work I'm doing equally.
A lot of cop shows, because they have the restraints of having a new case every episode, the victims often become these kind of nameless, faceless plot points, and as an audience we don't feel anything for those people.
In 'Stree,' I play a character who believes that he knows everything. And I play a cop in 'Drive.' It is a different kind of a role. It is not a uniform-wearing character. The film is interesting, since it is a thriller.
I'd never played a cop before, and this particular role with what she is going thru, especially during the first season, covering her alcoholism to her on the job performance, was a great opportunity for me as an actress.
With 'Rampart,' I read it and I'm like, 'That's the best role I've ever been offered. Phenomenal.' But, I was daunted, you know? Like the concept of trying to be a cop. It's just bizarre, man. Bizarre to even think about.
I was a cop in the Las Vegas Police Department in 1957. I was very young when I joined. But then I became a federal narcotics agent after that, in Vegas, and that propelled me into my future to fight the drug traffickers.
To a certain extent, I have to be the president's bad cop from time to time. I have to look people in the eye and tell them, 'No, we don't have enough money for that.' That is not a very popular thing to do in Washington.
As you can imagine, there were people who were like, "Why are you being the PC cop?" or, "This is Orwellian to tell people to stop using the word 'illegal' to refer to people." Well, I just want people to think it through.
I'm a chubby middle-aged white guy with short hair. I think that's it, really. I kind of have a look. Right now, I'm not fat enough to be the fat friend, but I'm not thin enough to be the leading man, so I look like a cop.
I never thought about being a cop. I'm kind of sensitive. I don't know if I could handle that job. It's hard to go home every day and be able to still live your own life because some of the stuff you see really affects you.
Wambaugh's naturalistic portrait of the cop world turned 'Centurions' and 'The Blue Knight' (1972) into bestsellers, but his next two books made him relevant to a larger audience and to the next generation of crime writers.
I'm very proud of being Italian-American, but people don't realize that the mafia is just this aberration. The real community is built on the working man, the guy who's the cop, the fireman, the truck driver, the bus driver.
When I was a teacher, I'd walk into the classroom. I stood at the board. I was the man. I directed operations. I was an intellectual and artistic and moral traffic cop, and I - and I would direct the class, most of the time.
Whenever I've had to make a major decision as a doctor, cop or for a company I've worked for, I ask myself: What is the value proposition here? Will my decision bring added value to the population I have the privilege to serve?
Let's face it. My dad was a mechanic, and my mom was a cop: my college options in seventh grade didn't look that great. And the chance I got to go to college and experience college life is something that's pretty precious to me.
You have to always try to think about them like real people first, and not just heroes. They have to be real characters. As people do more and more superhero stuff, the characters are what distinguish it, just like in cop shows.
I was familiar with that and 'Rio Bravo.' 'Rio Bravo' was what John Carpenter did, that brilliant move of taking a western and turning it into an urban flick. And from there you got, you know, all the cop genre movies of the time.
Being from a small town my parents wanted me to become an IAS officer but being an actor I lived the life of everyone. I've been a cop, a hardliner politician, a magician, a watchman, a don, a smuggler, an officer all in one life!
One of my first observations about New York that I was so fascinated with was that you'd be at a stoplight, and you're with everybody; there's a homeless dude and some weird celebrity and a cop and someone who looks exactly like you.
I think that regarding plastic surgery, a lot of women that hate to cop to the fact that they would get it done, might be saying no to it for other reasons, like, maybe it's against their culture, or they don't have the money for it.
Cop shows are by definition melodramatic; they're larger than life. They create very stark contrasts and conflicts emotionally. They're provocative, assuming they grapple with - to the extent that cop shows are mirrors of the culture.