Quotes of All Topics . Occasions . Authors
I'm fascinated by movies and enjoy that, of course, but always, the measure of how you are functioning in the arts was theater.
I also turn down what's probably a good amount of coinage to be made out of playing dads, an incredible number of obnoxious dad.
With modern medicine prolonging life no matter what condition you're in, it seems like we're working towards immortality by science.
Othello is someone who's just had a victory, and it's the aftermath of coming back and attempting to live comfortably as a civilian.
Television tends to be a more difficult medium for me to get my head around sometimes when it comes to certain things I get offered.
I don't like this instinct of reality television to wear your lifestyle in public. I've really always loved the anonymity of things.
Well, I can do certain jobs because smells don't bother me. But that means I'm usually the one at the ranch cleaning up all the manure.
I think institutions that are bureaucratic often try to squeeze from the top down, and they don't have good results on the ground level.
Sometimes you fall into the niche of being the confidant guy, or the good-looking guy, or being too charactery, or not charactery enough.
I was 21, and rehearsing a play, took a fall and was in a coma for a few days. And when I recovered, I'd lost my sense of smell completely.
I've never really been a television watcher and watched comedies, and I have gotten a number of invitations to be on television as the dad.
Some of the shoes I have are from movies - I have my workman's boots from 'While You Were Sleeping' - while others are shoes I've had forever.
I'm a very discriminating shoe shopper. I only look for something special. In fact, I don't think I've ever bought two pairs at the same time.
I enjoy that with theater, you can just go into a room with a paper bag lunch: there're no cables, no electricity. It's the purest experience.
There's something about Warren Wilson. You can gain a lot of very important things and skills that you carry over into whatever you decide to do.
I have always been impressed by the fruit community. There is a Tao of fruit, which is generous. You share what you know, and you give what you can.
It's hard to explain to people how, if you're really capable of providing the right professional work environment, it allows you to get more personal.
I think Westerns are always so great for clearing out the clutter and the ambiguities, and getting right to the broad strokes of that kind of situation.
I noticed that in 'The Revenant,' as much as it is a good story of revenge and endurance, there are times that you get to escape with a story like that.
I watched John Wayne movies, matinees - things like that. It was only in college that I saw European films. That became more of what I was interested in.
I was the kid who would join a sports team and be the biggest liability at first and a star player by the time the game got going. I just move very slowly.
With While You Were Sleeping, it was so much fun and such a Cinderella story, that I didn't want to do another romantic comedy. I wanted to do the opposite.
That's how we invaded Iraq, through the fear of an 'evil empire,' and it just makes people feel like bulls with the toreadors - you see red, and you charge.
You're always carrying something that's interfering. It's like static noise that doesn't have to be there, and you have to school yourself to clean that out.
It's astounding how challenging plays are... The scary part is that you get to encounter humanity in a way you don't in films. The audience amplifies the experience.
There is a bearing which comes from having a little bit of something withheld. In acting classes, they always say don't reveal 100 percent: it's much more interesting.
'The Virginian' has a very important romantic story line that you don't find in a lot of Westerns... At the heart of the story is quite a bit of pain and a sense of loss.
I always feel like there's some behaviour that we're all capable - we have our inhibitions protecting from indulging in certain appetites or developing certain appetites.
The military is a discrete entity. Then they come back, and they're such a small percentage of the population, and they can't really - it's hard for them to talk to civilians.
I love that vein which uses sci-fi to address society's problems. It is the same when you have useful nightmares - things morph, and you get to confront issues in your dreams.
It's astounding to me that in a country where there is an ever-growing divide between rich and poor, that people won't accept the need for regulation on banks and salaries and so on.
There's a point you get to on the stage where you're not remembering lines but living them, and you reach this pure moment which, really, is more intense than what you can achieve in life.
A lot of people just ask me about how I can do small budgets and big budgets, but many actors do both. I think the more self-destructive impulse I have is doing so many different characters.
My interest in theater really began in the '70s when American realism wasn't really in favor. I really dreaded going into a play that had a toaster that worked. I just didn't want to see that.
We're all part of humanity. And maybe there's something about the worst people, with the most destructive, warped minds, that is just an acceleration of something that is in quite a few of us.
Playing the president is interesting because, unlike a lot of different roles, people pay so close attention to who the president is, all of them, everybody's got an opinion about the president.
I've seen a lot of actors in a lot of different stages of their careers, and I've seen it come and go. People get a sense of entitlement from it. And that's when it starts getting you in trouble.
I always feel like there are a lot of different types of favourites. There are some that I look to for interesting things, some that I look to for acting things, others that I watch again and again.
It's funny: When I first heard they were thinking of me for the president in 'Independence Day,' I just assumed it was a comedy - I didn't exactly think of myself as leader-of-the-free-world material.
Truthfully, I almost avoided 'While You Were Sleeping,' because I find those romantic comedies kind of precious, and they're full of lines that leave you feeling a little bewildered when you say them.
If you are in an Edward Albee play, you say Edward Albee is the greatest playwright of all time... If you're in an Israel Horovitz play, you say Israel Horovitz is the greatest playwright of all time.
I have gotten a number of invitations to be on television shows as 'the dad,' but that was Kryptonite to me. I was like, 'This would be the death of me. I'll be a cesspool of niceness.' It doesn't feed me.
There's definitely a pattern of great British shows that get reinvented in America and do really well here, but I think 'Torchwood' is a bit different. It's more of a hybrid that doesn't exist as a reinvention.
I did this play, 'Expedition 6,' that I worked on for three years in between other things. It was a good, interesting time for me because I trained as a theater director, and I went back, and we toured it around.
I did 'Malice,' 'Sommersby,' and 'Sleepless in Seattle,' and they're as disparate characters as I've ever played. But somehow, there was that thing - they were all second male leads, so they all didn't get the girl in some weird way.
I've always been a fan of George C. Scott, who was working in movies when I was in college... films like 'Patton' and 'Hospital.' I was really impressed by him, and I had seen him onstage as well in 'Uncle Vanya.' He was a champ to me.
The idea of taking classic American stories and reinterpreting them for a time and place is not just commercially viable. These stories also carry a sensual nature of what it meant to be an American, and they deserve to be reinterpreted.
I'm not a gardener. I don't have the consistency for gardening, and I have barely enough for an orchard. I don't embarrass myself. You have to be there tending and weeding. With orchards, you can go through negligent periods and recover.
As an actor, you're continually riding the waves of whether you're in or out, getting work or not getting work, and Kazan was really a guy who was condemned into not working and looking to go deep into someplace and just live inside his art.
I always loved asking everybody when I arrived in England, from the drivers who picked me up to the people at the hotel to people I met when I was walking in the park, almost everyone at some point would say, 'Everyone loves Ant & Dec!' From eight to 80.