Quotes of All Topics . Occasions . Authors
We shouldn't force ourselves to do something that really is just painful to us. If there is a discrepancy between what we are doing or putting our bodies through and then what our minds are telling us, you really have to look at yourself, and the most essential part of it is the pleasure aspect.
I think the idea, first and foremost, is to understand that people may label these characters as villains, but at the end of the day I have to fall in love with the characters that I play. For me, they have to be real characters with real objectives, and driving forces. So they're all different.
There is a very diverse range of superheroes, especially with the Firestorm character. In the comics, there is a black Firestorm. But we still don't see that many black superheroes. So what The CW is doing and what DC Comics is doing with this whole universe with diversity is absolutely amazing.
I've been incredibly blessed with good roles the past few years, but none of them compares to the experience of playing Ellsworth on 'Deadwood.' There are times when I've had as much fun or had comparably great material, but as a body of work, playing Ellsworth tops anything else in my lifetime.
I think with every character I get, there's an approach that's appropriate. I feel like my own job is to interpret what there is in the film and show that through me, sort of really channel myself through the role. If I feel I need to get into it to the point where I don't leave it, then I will.
Putting on a movie is like going to war - for me, at least. It's all about time; time is money, and we don't have it. So it's all about getting to know each other intimately quickly. You are with family members that you like or don't like, but you can't leave them because you're stuck with them.
In fact, my favorite Beatles song is "In My Life." And from that, you can gauge that my friends mean so much to me. I love John Lennon, so it's kind of like moody... There's a lot you can gauge from that. As insignificant as it seems, as an actor, it's an interesting way to approach a character.
We've done a lot of studies to see when they do happen, why, and I mean there's a variety of reasons. But one, it starts with a commitment where they decide this is going to be who we are. Maybe it's out of their faith, a new way of looking at their faith, that we must be integrated across race.
[Virginia Madsen] big part in that movie ['Class'] required her shirt to get ripped off, and looking back, it couldn't be a more egregious, vintage, lowbrow, 1980s Porky's-esque, shoehorned-in moment. Like, you would never have that moment in a movie that aspired to be what that movie did today.
I've had a very interesting life. There are ways of handling the complexities. I'm willing to take on the responsibilities as a father, as a producer, as an actor; and I enjoy that. I've always been changing and evolving and growing. There's no pinnacle of power where you can sit back and relax.
It's entirely to do with personality, I think. There are good directors who talk a lot, bad directors who talk a lot, and good directors who don't say much and vice-versa. It just depends on whether people respond to that personality and whether people have a willingness to do something for them.
Some people come up to be directors by coming through the camera department and there's not a lot of women in the camera department. The ones that are have to kind of prove they're one of the boys, I think. I don't want to get into trouble with generalisations but I think it's a fair observation.
I think that, often, actors represent what they're not. You get people who define the aristocracy who are not aristocratic - they're lower-middle class or working class. An awful lot of your so-called angry young actors have grown up in extreme bourgeois comfort. It really is surprisingly common.
Realism is always subjective in film. There's no such thing as cinema verite. The only true cinema verite would be what Andy Warhol did with his film about the Empire State Building - eight hours or so from one angle, and even then it's not really cinema verite, because you aren't actually there.
In the present time you don't really establish what you're going through, but after time it's declared something. Right now there could be some writers doing something expressing their thoughts in a whole different style that we're not aware of. This could be the 'in-between the notes generation.
One of the first things I do when I step onto a set is I scan the set and try to take in every detail, because what I'm trying to find are tools that I can use to incorporate myself into the space and tools that I can use to make the performance authentic and to build on the authenticity of that.
I think in this world and this industry, if you let it, it does. And I feel that the people who don't have good friends and family around them are the ones who get a little funny. But I'm very lucky. I have good friends and good family and if I ever stepped out of line, my mom would take me down!
I think Danny Boyle's got it in his head that we all still look too young (to do a 'Trainspotting' sequel.) But, I mean, I don't look like anyone I play, anyways, so I don't really know where that comes from. Because, you know, you change yourself for the roles. I'm actually not Scottish, either!
When I first came to Hollywood, the blacklist was just starting, and they were having hearings in Washington. What most people don't know is the judge of these hearings himself was later convicted of misappropriation. 'Spartacus' helped break the blacklist, because Spartacus was a real character.
They’re a nasty bunch of people. The Riot Club’s sole purpose is to celebrate wealth, elitism, hedonism, and excess - just random acts of destruction and chauvinism, which is interesting because our Prime Minister, our Chancellor of the Exchequer, the Mayor of London were are a part of this club.
If someone says 'Give me one word of advice,' I say 'be fearless.' And knowing without any shadow of a doubt that what they have to give - who they are - is totally unique and not shared by anybody else. And to believe in that uniqueness. It took me decades before I developed courage as an actor.
I had a lot of different jobs between fifteen and nineteen. I'd moved out of my house way, way younger than I should have. So I was living out on my own with my brother when I'd just turned sixteen. I did busboy stuff, and worked in warehouses, and did odd jobs, and stuff. I earned me some Pesos.
In the the late seventies and early eighties, I played background roles in thirty movies... Woody Allen movies, Scorsese films, you name it. Whatever was being shot in New York, I was doing stand-in and background work because I wanted to be close to the camera; I wanted to see what was going on.
I spent all of my childhood at a performance art camp. Putting on plays, it was more like commedia dell'arte. It wasn't career-oriented in any way. It was more fun and therapeutic, so I never really thought of it as something I would end up doing. I was more convinced I was going to be a painter.
I still feel that in India we look upon sports as a recreational activity - which it is - but people have to understand that there is a career in sports. It's not just necessary to be a doctor or a lawyer or an engineer, as most of us Indians appear to think that our children should grow up to be.
By the grace of God, my parents were fantastic. We were a very normal family, and we have had a very middle-class Indian upbringing. We were never made to realise who we were or that my father and mother were huge stars - it was a very normal house, and I'd like my daughter to have the same thing.
We've never had nannies. We've had great grandparents, great support from family, and the kids have been on every set: they've seen me play Gollum, King Kong, Captain Haddock, the lot. They totally get it, and they want to go into the business. Ruby, my daughter, is very keen to become an actress.
It used to bug me that I couldn't even afford to take my family for a proper holiday. I didn't have any professional knowledge, and getting a photographer's job in a magazine was out of the question. So, armed with a Pentax K1000, I started going to various maidans of Mumbai, looking for subjects.
I have to think that I think it's always been a horse race between this administration's temporary political acumen and their completely, utterly, totally bankrupt policies. And they're coming home to roost. It was always a question of time. These guys aren't conservative. These guys are radicals.
I love working with horses. People say you shouldn't work with animals and children; that's wrong. You must only work with children, because you only work eight hours a day and I love working with animals. Animals have an honesty that human beings reach to find in their lives at the best of times.
When things could've gone really bad, rugby caught my interest and I really stuck with it. The sport brought me, maybe off the streets where we'd be fighting, into putting in a good effort in the rugby field where you're kind of rewarded for that rough behaviour instead of in trouble with the law.
My father went to college for drama in Pittsburgh, and so did my mother, and then my mother was a steadily working New York theater actress. They kind of quit when I was born. They did that for, like, 10 years before they had kids and then I was born and they were not into that lifestyle for kids.
We think that democracy can change a lot of things, but we're being fooled, because democracy is not the election. We've been taught that democracy is having elections. And it isn't. Elections are the most horrendous aspect of democracy. It's the most mundane, trivial, disappointing, dirty aspect.
In the present time you don't really establish what you're going through, but after time it's declared something. Right now there could be some writers doing something expressing their thoughts in a whole different style that we're not aware of. This could be the 'in-between the notes generation.'
I'd love to get fat on camera. Wouldn't that be great? I'll tell you what's almost as hard though, getting bulked up, getting that big. Here we are in LA and you see guys walking down the street and everyone looks like Arnold Schwarzenegger. That's really quite grim, if you haven't done it before.
The fact that women are constantly supposed to be beautiful, gorgeous, and perfect all the time is something they have always had to live with. But now it's happening to men, too. There seems to be this imperative that you have to be hot or ripped or fit or healthy or whatever you want to call it.
I'm a good son, a good father, a good husband - I've been married to the same woman for 30 years. I'm a good friend. I finished college, I have my education, I donate money anonymously. So when people criticize the kind of characters that I play on screen, I go, 'You know, that's part of history.'
[The Man] was a case where it was a funny role teamed up with another actor. It's a great teaming. And the role was a bigger role. It wasn't so much that it was a co-starring role. This is not a new direction. I'm not saying, 'No. I'm only now co-starring.' It just happens it's a co-starring role.
I always believe that Kar-Wai has a complete script: he just doesn't show it to us. He wants us to experience and explore the character. He gives you a lot of space, and you know every time will be a very long journey. You just live in the character, and that's very different from other directors.
Doing a job, or even watching a film, can make a difference to your life, but I don't think it ever has an explosive impact where your life will never be the same again. It kind of seeps into your life, and perhaps realise you're a little more vigilant about certain things than you might have been.
It's a funny thing - the reality is I have no feelings about school. It's long gone. Funnily enough, the bad memories - of which I don't have any left to be honest, I can just remember a sense of tedium - have faded. And teachers that I liked have remained quite vivid. There are three or four left.
My biggest thing has always been privacy. With an interview such as this where the questions are about me, I struggle to express myself. I have an immediate answer in my head of what I'd say, but sometimes I feel that it would be too honest. So these wheels of censorship start going around my head.
There were times when I got frightened. Things weren't going right, so I just went out and got smashed. That's me. Something goes wrong, I find a bottle. I don't like it about myself but I've done it before and I'll do it again. But I never vanished for days or held up shooting or quit the picture.
Getting over someone is a grieving process. You mourn the loss of the relationship, and that's only expedited by 'Out of sight, out of mind.' But when you walk outside and see them on a billboard or on TV or on the cover of a magazine, it reopens the wound. It's a high-class problem, but it's real.
I had a very strong feeling about the Vietnam War, and I had a strong feeling about participating in it. The military draft was in place, I was summoned for a physical exam, and I was either going to be classified as fit for military service or make my objection to it. So I made my objection to it.
Once people start to realize the consistency of quality that is coming, they'll start to open up their minds a little more and say, "Wow, this is great. I'm going to tune into this." It's not just for the geeks and the people that are into it. It's actually really fascinating. That's my take on it.
About half the scripts sent to me feature characters I just can't identify with, particularly one-dimensional businessmen or, if it's a comedy, some absurd 10-year-old Japanese stereotype, some role related to IT or business... There's no point in getting mad about it; it's just the way things are.
I live in Leeds, which is about 200 miles north of London, and I get to go and do all the 'Harry Potter' stuff and make great films and be part of this wonderful thing all around the world, and then I get to go home and chill out with my friends in Leeds and go watch the football and go to the pub.
Fifty three per cent children in India face sexual abuse - both boys and girls - but we still feel uncomfortable talking about it. We are still hypocrites when it comes to issues like child abuse, sex or for that matter homosexuality. It is high time that we brought the issue from under the carpet.
The flood will lift the ghosts from the Hollywood lawn cemetery and they will disappear like ether in the now dead air. All the names will be erased from the billboards and the theatres and the piers and the magazines and the monuments. You live by myths of immortality, and your myths are not safe.