Quotes of All Topics . Occasions . Authors
I remember the first day I was looking at my hands and I thought about my nails. People wouldn't really be paying attention to that, but a Civil War doctor - What would they be doing with their nails? Would they cut them really low? And Dr. Burns said, "No, they would let them grow out so they can scoop stuff out. They would use their nails." So for a while I let my nails grow. They were too long. I kept stabbing myself by accident, so I cut them down, but I was trying to be faithful to the details.
Our oil-based society depends on non-renewable resources. It requires relentless probing into vast reaches of pristine land, sacrificing vital bioregions, and irreplaceable cultures. The possibility of catastrophic climate change is substantially increased by the 40 million barrels of oil burned every day by vehicles. We must all move shoulder to shoulder in a unified front to show this administration that the true majority of people are willing to vote for a cleaner environment and won't back down.
But obviously, things have changed in many ways since the '50s, when the show is started, in terms of sexuality, and how much access we have to images of it and information about it. But, the same problems always apply. It doesn't matter whether we know a lot more about sex now or if there's a lot more access to it. The same problems of intimacy, of dealing with other people, of connecting and being vulnerable with other people, which is what the show is ultimately about, still applies now, I think.
Be undeniably good. When people ask me how do you make it in show business or whatever, what I always tell them & nobody ever takes note of it 'cause it's not the answer they wanted to hear-what they want to hear is here's how you get an agent, here's how you write a script, here's how you do this-but I always say, “Be so good they can't ignore you.” If somebody's thinking, “How can I be really good?” people are going to come to you. It's much easier doing it that way than going to cocktail parties.
Well, another senator rose and said {as they always do} 'Does the gentleman yield?' They always say that - least they call each other 'gentleman' in there. But the tone they put on the word, it would sound more appropriate if they came right out and said 'Would the coyote from Maine yield?' 'cause that's about the way it sounds. Well, then, the other senator says 'I yield' (for if he don't the other guy'll keep on talking anyhow). So the coyote from Maine says 'I yield to...the polecat from Oregon!'
When I started, the scripts weren't as good, and you'd have to have a huge burst of energy to go, "Sheesh, how am I going to? This stuff's no good." So you'd have to improvise something or create something or try to work with the ware and try to figure out, how do you make this visually and orally acceptable, entertaining? Nowadays, the scripts are just so much better, that you don't have to feel that way. You feel like the script's coming to you, you can just relax. You don't have to drive the boat.
One of the rules that I always follow is that no matter how crazy characters may act, and no matter how absurd or strange their actions may be, that it's justified in the character's mind why they are doing it. Not to get all heady about it, but it's fun for me to test how far I can go with things while still keeping it grounded enough that you believe that the character really believes that what he's doing will get him what he wants. It's a personal challenge to me to see how far I can go with that.
We worked on The Perfect Storm, and I'll never forget, Wolfgang Petersen would talk about a moment. Like a non-speaking moment, where we'd all be sitting around eating dinner, and it would probably last maybe four seconds on screen. But he would sit there and talk about it for about 10 minutes. He knew what piece of the puzzle that scene would be, and if it were six seconds, it would be too long. If it were three seconds, it wouldn't be enough. I'm always turned on with people's enthusiasm like that.
I took part in a theatre festival in Massachusetts two summers after I graduated from college. Then I was in Los Angeles thinking: "I'm going to go to New York." I'd decided that I would not have a chance of a film career, so I was about to make the move. I bought a plane ticket and found a place to live in New York, packed my bags and of course the universe "told me" that I was not meant to go. Suddenly, a week before I was supposed to leave, I had three job offers and one of them was my first movie.
I'm not thinking about forcing my kids to watch my movies. It's always awkward when someone says: "Hey, I wrote a song, can I play it for you?" That would be the dynamic, if I was like: "Hey, you're my son, watch my work!" I don't want to put them in that awkward position. Just because when they get older, that's when I'm worried, that they'll judge me and say: "Yeah, my father's ******* Jack Black. He was in that cheesy movie." So, I'm going to keep it all high quality. It'll be a quality controller.
An actor must interpret life, and in order to do so must be willing to accept all the experiences life has to offer. In fact, he must seek out more of life than life puts at his feet. In the short span of his lifetime, an actor must learn all there is to know, experience all there is to experience, or approach that state as closely as possible. He must be superhuman in his efforts to store away in the core of his subconscious everything that he might be called upon to use in the expression of his art.
When I was a child and I was upset about something, my mother was not capable of containing that emotion, of letting me be upset but reassuring me, of just being with me in a calming way. She always got in a flap, so I not only had my own baby panics, fears and terrors to deal with, but I had to cope with hers, too. Eventually I taught myself to remain calm when I was panicked, in order not to upset her. In a way, she had managed to put me in charge of her. At 18 months old, I was doing the parenting.
Rip Torn thought I was being a wise guy, and one afternoon he got pretty angry with me after telling me to do something and he thought I was pretending like I didn't know what he meant.But he was very frustrated. He was very frustrated as a director in trying to get his little theater group going. It was called The Sanctuary Theater Workshop, I think, and he wanted to do these classical plays by people like August Strindberg, and he was fighting hard to get his show up and be good and be professional.
I was living in New York, so I just rode my motorcycle up to the set [of New Jack City]. So first day of work for me was kind of tough. I get ready to get off my bike, and I'm surrounded by the security guards, who were Louis Farrakhan's Nation Of Islam guys. Who had the double-breasted suits and guns. And this guy goes, "Where you goin'?" And I said, "I'm here to work." And they said, "No you're not." And I said, "Yeah. I'm here to work on the movie." And they said, "No you're not. Get on your bike."
I believe in the soul ... the small of a woman's back, the hanging curveball, high fiber, good scotch, that the novels of Susan Sontag are self-indulgent, overrated crap. I believe Lee Harvey Oswald acted alone. I believe there ought to be a constitutional amendment outlawing Astroturf and the designated hitter. I believe in the sweet spot, soft-core pornography, opening your presents Christmas morning rather than Christmas Eve, and I believe in long, slow, deep, soft, wet kisses that last three days.
In the great wealth, the great firmament of your nation's generosities this particular choice may perhaps be found by future generations as a trifle eccentric, but the mere fact of it . . . the prodigal, pure, human kindness of it . . . must be seen as a beautiful star in that firmament which shines upon me at this moment, dazzling me a little, but filling me with warmth of the extraordinary elation, the euphoria that happens to so many of us at the first breath of the majestic glow of a new tomorrow.
The technology is available to us today to begin the transition to 100 percent renewable energy. What is keeping us from making that transition is nothing more than misinformation, a lack of knowledge by most people of what is available, and an unwillingness on the part of many of our politicians for either ideological slavishness or something more self-serving, like major campaign contributions from the oil and gas corporations or from utilities who enjoy the monopoly they have on our energy systems.
I want to use film to tell stories that need to be told to spark discussions that will lead to change. I really want to see a change in the mindset of youth, how they see themselves and how they value life. Young audiences will be able to see themselves in this film and older audiences will gain an understanding of what their kids are dealing with on a daily basis. Kids discuss what they see on TV, social media, film so I want to create content that they will discuss and will change the way they think.
Darth Maul dies and it's okay. And maybe he'll be picked up later and another actor will play him and that's okay. However if they call me up and they need him for this or that and they want me to play him, then that's okay too. I do actually love this character. I feel strongly about him. I feel badly for him and if there's anything more I can contribute to him or the larger Star Wars mythology I will continue to do so and if my time has come then I will watch as a fan the way I have since I was born.
The genre of '80s action movies, I think, changed really when The Matrix came out and Keanu Reeves was able to perform kung fu. Then you had Matt Damon in the Bourne films, doing a great job. So it's different now, they can train actors to do their own fights convincingly on screen, so those guys aren't needed anymore. But I think everything goes around in circles; people still do want to see the guys that can do stuff for real, that's why The Expendables is so popular. I think it will come back again.
Somebody I love and have a huge amount of respect for once told me something that, to this day, I don't really think I understand. It was probably toward the end of Harry Potter, and they were talking to me about afterwards and that kind of stuff. And they were saying, "You need to think of yourself as a brand and you need to protect that brand." I just don't understand what that really means in terms of being an actor, and I also think I would find that a slightly soul-destroying way to look at myself.
I've been fortunate to have had the life I had prior to Hollywood. I wasn't starving, I was going to eat the next day. I came to Hollywood wanting a career that had longevity, and I wasn't afraid to take risks because I had a dollar in the bank. I wasn't driven by money as much as I was driven by making a successful transition. And I was smart enough to know that I certainly didn't have all the answers and I needed to surround myself with smart people and be willing to take risks and be willing to fail.
I genuinely think I have a hugging superpower. I'm starting to master the transformative hug. I have a strange memory ability. There's a lot of information that I don't cognitively know, but that seems to rise up at moments of need. That feels like a superpower. Something that nobody knows about me is that I discovered at a young age that I could sing in two tones. I don't do this in performance, because it's something very special to me. But I've learned that it's a practice that goes back far in time.
I'll look through a script, and if there's a lot of night shooting I tend not to want to do it. If there's huge party scenes and I'll go through a few pages and say "Well, at least I'm not in this," then the last page my character walks in and says something, I say, "Uh oh, that's going to be three days on the set sitting around drinking coffee at the craft-service table." Unless it's a great part. All in all if it's a great part you'll do it and I'll say, "Well, I'm gonna be on the set for three days."
To me, the amazing thing is that so much that was science fiction back then, political fiction, today is reality. We have indeed a spacecraft called an international space station. And we have the diversity of this planet working on that ship, including Americans and Russians working side by side. I think the imagineers are the ones that set the goal. And the inventors and the technicians see that as a goal to work toward, or the political scientists and the diplomats. And eventually, that's arrived at.
I resist all established beliefs. My religion basically is to be immediate, to live in the now. It's an old cliche, I know, but it's mine. I envy people of faith. I'm incapable of believing in anything supernatural. So far, at least. Not that I wouldn't like to. I mean, I want to believe. I do pray. I pray to something ... up there. I have a God sense. It's not religious so much as superstitious. It's part of being human, I guess ... Do unto others: How much deeper into religion do we really need to go?
I Need a Good Book I need a good story. I need a good book. The kind that explodes Off the shelf. I need some good writing, Alive and exciting, To contemplate all by myself. I need a good novel, I need a good read. I probably need Two or three. I need a good tale Of love and betrayal Or perhaps an adventure at sea. I need a good saga. I need a good yarn. A momentous and mightily Or slight one. But with thousands and thousands And thousands of books, I need someone to tell me The right one. -John Lithgow
I was always pretty broad. I've had a couple bad experiences. One time, I showed up late for a gig in Brooklyn at an Italian restaurant. I ran on stage, did my show, and then some guy in the audience threatened to kill me because he didn't like my joke. Instead of talking to him, I just ran off stage. And then, because I was late, the owner of the restaurant threatened to kill me. And I was 19 years old and so scared that I almost started crying. But, I've done every gig you can imagine, in every state.
I think the Arab world has no personality cult situation going on that they have in much of the Western world, South America included. They are a culture of words and religion, and you won't see manycsa charismatic people on Al Jazeera, except for the ones who are now learned presenters. You see Arab leaders getting on TV - which was very hard for me working out how to do the part, since Arab leaders are looking somnambulant, staring into their microphone, almost as if someone's got a hand up their back.
You know I grew up on the Batman movies, and they had some terrific actors in, but you know a lot of the other ones - it wasn't always the case that you had people the caliber of Jeff Bridges or Robert Downey, so to kind of show up and work with Jeremy Renner or Robert or with Mark Ruffalo, any of them, Chris Evans, Chris Hemsworth, the caliber of people you're acting with, to me, is really fun. From the first day I started doing scenes with Robert, it's been one of the funnest experiences I've ever had.
I feel like... I don't have a wife, I don't have a kids, but... I see rappers and I'm like, I know that's fake. I know how much you make, this is all bullshit. But people are buying into it, and you shouldn't have that power. I'm legit trying to make honest moves so that all of us can grow. I want to make a show where my sister can work on and become a producer because she can't get in, no one's leting her. I want to make things where people can actually grow. A place where people can actually be honest.
The challenges that I face today are the same challenges we all face. Trying to balance your life between work, family, loved ones, your husband, your wife - boyfriend or girlfriend. If you have kids - balancing that, balancing your work with the time you spend with your kids. The idea of wanting to be a good parent and then the motivation to be a great parent. Whether you're black, white, any color. Rich, poor, regardless of religion, cousins of culture, we go through those. We have the same challenges.
Ninety percent of what most yoga teachers do is teach asana practice. While asana discharges stress and so forth, it was never intended to be a standalone practice. The true intent of yoga is personal transformation. What we get out of the privilege of teaching prisoners is the opportunity to focus on our own personal development. You can be of service, and, while helping others transform their lives, you have the deeper opportunity to transform your own. What we teach in prison is how we live our lives.
There are so many varieties of films. You've got the jet-lagged films, where you fly to Bulgaria or wherever and get off the plane, and they bring you right to the set, and you start working, even though I don't even know my name, it's been such a long flight. Then there's the alimony films. But after you've been doing this long enough, you've gotten into every kind of situation you can imagine, even to the point where there is basically no script, so you have to kind of do it scene by scene and survive.
We [ with Russel Crowe] had an Arabic coach there [ in the Body of Lies] that was really helpful, because it was more so than any accent. You have to be so exact, and there's different dialects of Arabic from country to country so it was really, really difficult to tell you the truth. And one of the hardest things I've ever had to do language-wise, because it comes from the throat. It's different. And also learning about the customs and the culture and all that, so we had advisors for that sort of thing.
I knew I wanted to go to college and I wanted to study it acting, so I just looked for the best school that I could get into. Luckily, I had very supportive parents. I went to a conservatory that is basically drama school. You take one English class and one history class for four years but you don't take any other science or anything like that. It's strictly, from 7am until night, all acting. It's a lot. Some people find it too much, but for me I was preparing for a career and I never really looked back.
Nature has a way sometimes of reminding Man of just how small he is. She occasionally throws up terrible offspring's of our pride and carelessness to remind us of how puny we really are in the face of a tornado, an earthquake, or a Godzilla. The reckless ambitions of Man are often dwarfed by their dangerous consequences. For now, Godzilla - that strangely innocent and tragic monster - has gone to earth. Whether he returns or not, or is never again seen by human eyes, the things he has taught us remain...
Recently I stood in the desert, far out side of L. A., and watched the sun set on a circus tent from 1930. Every where stood animals: elephants, tigers that should be loaded into a steam train. 300 extras in costumes raced around, the modern world had disappeared totally. Although that was totally fake, it still happened directly before my eyes! That was my perfect day. I would be gladly experience that every day. It happens continually to me: It calls itself work. That is wonderful and more than enough.
Theatre artists are essentially sort of charlatans and thieves, I mean that's the tradition that we come from, so I have absolutely no, I make no bones about the fact that I steal from here and I take from there, and we all do it, that's perfectly all right, that's the nothing, there's nothing new in the world, there's nothing actually new in the way that you do something, but the point is is how do you take something and use it to articulate what is essentially a core of any given theatrical production.
I used to do fight sequences, and I started to get self-conscious about fight sequences, because invariably the other person would get hurt, and you never want anyone to be hurt on a film, let alone you being responsible. The great thing about working with guys who have spent their life choreographing fights for wrestling is that that's what they do. That's their specialty. Their specialty is selling taking hits. Their specialty is selling explosive hits without making a contact or doing too much damage.
Yes, I spent two long years, traveling all over the United States, all over Europe, interviewing many, many, many people who had been thrown out of their academic jobs because they taught that there was a possibility of life coming from something other than Darwinism, who thought that possibly random selection and mutations didn't account for the universe, didn't account for gravity, didn't account for why nobody had ever seen an individual species evolve - no one's ever seen an individual species evolve!
I had my back against the wall. He [Gary Hinman] said, I'm going to tell the police what you did to me. [] This guy is a drug dealer. He's playing the game. And if you're going to dance, you've got to pay the fiddler. You burn somebody, that's the way it is. [I] Stabbed [him] in the heart twice. He died immediately. [] Susan Atkins seemed to think, Oh what fun, how interesting. Susan Atkins is now a Jesus freak in jail. She gave five different testimonies and in one of them, she claimed she killed Hinman.
There is still boxing, but there's just no money in it anymore. If you went around the world and asked a bunch of people under 20 years old, to name a boxer, I bet they couldn't name one. They'd be able to name a UFC fighter though. When I was younger there was Mike Tyson and we watched everything. I'm not saying its gone, or its going to go, and it could easily be ignited by another fighter, but it's just that idea that UFC is more violent, that desire for more spectacle, has captured people's attention.
I'm one of those guys who will drink to, uh, kind of celebrate. I don't drink too much when I'm down or anything like that. But you've really got to be, I guess the word that came to mind is "creative," about the way you're celebrating. You want to keep the celebration going. I've learned that lesson over and over. Here on the road there's a lot of cause for celebration, but you just gotta get the damper out a little bit, and you want to keep that governor on. You want to keep your give-a-shitter in kick.
It used to be trained professionals doing animation and they were great. Now they have celebrities and famous actors doing the voices, but that does not always work. But I think this film turned out really well, partly because the three of us (me, Ray and Denis) are comedians who are used to doing solo acts and doing certain types of voices. The three of us are New York guys, we all came up the same way in the profession and we are all edgy and enjoy doing family movies. It was a good combination I think.
Men ruled the roost and women played a subservient role [in the 1960s]. Working wives were a rarity, because their place was in the home, bringing up the kids. The women who did work were treated as second-class citizens because it was a male-dominated society. That was a fact of life then. But it wouldn't be tolerated today, and that's quite right in my book... people look back on those days through a thick veil of nostalgia, but life was hard if you were anything other than a rich, powerful, white male.
I wanted to move on. I wanted to do acting. The next thing I did after [MADtv] was a good hybrid of that. I did this show with Bob Odenkirk and Derek Waters (creator of Comedy Central's "Drunk History") and it was a little homegrown thing that we shot and then we sold it to HBO. We made a pilot and HBO didn't pick it up, but then we made all these webisodes. This was before streaming stuff online made any sense. (The episodes are available on YouTube). Nobody even knew how to watch things on the internet.
I was in a restaurant, and it just struck me, something I'd never thought of before. And it's menus in the restaurant just hit me. I was ordering and I thought, "God, think of all the people who handle these meals day in and day out" and they, I mean you're going to a restaurant, you can be pretty - you can feel secure that they wash the silverware in the kitchen and the linens and all that stuff, but they don't wash their menus, who washes menus? Now, I've got to worry about that for the rest of my life.
Right at this moment, I only want silence. I believe that the end of life is silence in the love people have for you. I've actually been running through what people have said about the end. Religion says that the end is one thing, because it serves their purpose. But great thinkers alike haven't always agreed. Shakespeare knew how to say it better than anyone else. Hamlet says 'The rest is silence.' And when you think of the noises of everyday life, you realize how particularly desirable that is. Silence.
They have passed the big inheritance tax, and that gets you when you are gone. You used to could die and be able to beat taxes, but not now. The undertaker don't go over your body as carefully as the assessor does your accumilated assets, and he gets his before the undertaker. They have it on these big fortunes now where they pay as high as 60 to 70 percent of what they leave. That's mighty expensive dying when it runs into money like that, and you won't see 'em dropping off as casually as they have been.