Quotes of All Topics . Occasions . Authors
The "stage" on which you perform in film and TV is much smaller. Moving your eyes across the frame is equivalent to crossing from stage right to stage left in a big Broadway house. Coming from a theatrical background and temperament, this is something I am still learning. However, I think ultimately your responsibilities to the character and the overall story are the same in both mediums, so my approach felt very similar.
Hinduism, being one of the world's oldest, largest and most diverse traditions, also provides inspiration toward deities in our game. In fact, given Hinduism's concept of a single truth with multiple physical manifestations one could validly interpret ALL the gods within SMITE to be Hindu. And all gods outside of SMITE as well. Ponder that for a minute. Anyway, going forward SMITE will include even more deities, not fewer.
What I realized with Funny or Die is that I could take it into my own hands. On a much smaller scale, I think these videos are an accurate representation of who I am. As weird as they may be, I'm at least proud of them, and it showed that I do have a slightly different voice. I can't tell you how often people bring up these videos in interviews, and I'm so happy to talk about them because we created them from the ground up.
Onstage, I enjoy the thrill of live performance - there is no substitute for that rush. On camera I enjoy the crafting of a scene, the widespread creative marksmanship happening all around you for every second of footage. Onstage you can suddenly feel solitary, like it's all on your shoulders, while on camera you feel like there are so many people working with you on every shot. Those are each unique and gratifying challenges.
Television always carried me: be it at my beginnings in small series and telefilms, or through my success in Kasamh Se and Bade Acche Lagte Hain. Thanks to TV, I saw an incredible dream come true: I could incarnate good and bad people, share my joys and pains with the audience, but also be part of this incredible medium that can educate and entertain at the same time! And with new TV platforms, the journey has only just started.
I really loved the story. I originally read for Walt Longmire. He is obviously a very dynamic, strong, manly man that almost any dude would want to play. Once I got in the room and met with everybody, the feedback came back that they loved me, but that I didn't have the age. And then, they brought up the idea of Branch, who wasn't that interesting on the page in the pilot, but once they explained the vision, I really bought into it.
I don't ever feel a full transition to my character. I don't ever feel like I have left myself, because if I did, I would need professional medical attention. I always have to keep my own wits about me, or I would miss a mark on the floor, or be unable to follow the director's advice from the last take. However, when I'm at my best, I feel like I'm doing an impression of a person I've never met. It feels complete, and yet improvised.
The one nice thing about doing a character for a long time is, you begin to feel more comfortable, and you are thinking less and behaving more. It's always best not to be thinking a hell of a lot while you're acting, because you want it to be as spontaneous as possible, not too intellectual. Just behaving and listening to other people who you're doing scenes with. I always like the latter when it looks easy, even though it may not be.
It was really executed well, from the art direction to the wardrobe to everyone else. And I have to say, two really exceptional directors who did three each. Roxann [Dawson] did the first three and Jeremy [Webb] did the second three. And I think they really were very meticulous in getting the right tone because it is both. It isn't dour and it isn't grim, but it's not a romp either. It's truthful and it has room for both of those things.
And then, one acting class turned into two, turned into four, and then turned into, "I love this. I could do this for the rest of my life. But, I don't have a background in acting. I never acted in college, or did anything like that. How can I go about doing this?" That meant going to grad school and getting some training, and I did. I literally walked down the path. It was real fortuitous for me to walk by that school, that one morning.
I did more research into the police procedure. I worked out with SWAT guys and ex- and active military guys, and consulted with them and read books. As far as the character itself, I don't know how you can research being a focused guy, aside from just being a focused person and knowing what that's like. Outside of the character background and all that, there wasn't a whole lot of other stuff to really delve into. You just do what you do.
I never root for a failure. I learned that when we were on 'Felicity.' There was a show that failed on the lot, and suddenly all of this food showed up on our set. I was, like, 'What is this?' And they said, 'Oh, they cancelled this other show right before their lunch.' And I said, 'Throw that food away! We don't want to touch that food! There's no way I'm eating it!' So I never root for anybody, because it could happen to you in two seconds.
I’m loving doing Outlander. We’ve got a great cast and we’re up in the Scottish Highlands. […] It’s big budget, they’re spending a lot of money on it. They’re going for a very gritty and realistic portrayal of the Highlands and I play Dougal MacKenzie, the War Chieftain of Clan MacKenzie. As that implies, he’s quite the serious character. There’s lots of political intrigue, there’s romance, there’s adventure and action and there’s time-travel.
When I hear myself speak French, I look at myself differently. Certain aspects will feel closer to the way I feel or the way I am and others won't. I like that - to tour different sides of yourself. I often find when looking at people who are comfortable in many languages, they're more comfortable talking about emotional stuff in a certain language or political stuff in another and that's really interesting, how people relate to those languages.
A lot of people don't know me. I was a man in a suit for many years, but it's really gonna work to my advantage and I've always known that. I'm turning 30 in a month... that's something for me to look at. Generally when people see me and greet me, they're kind of astonished at what I really am. It's all about playing character and really becoming somebody else. I've always said, "Acting is nothing more than paid schizophrenia if you're doing it right.".
The toughest parts of the shooting schedule for me are the days between working, when you've nothing to do but wait. There is only so much time you can spend on a script before it becomes so rehearsed that your performance becomes rigid and immovable on the day of, so one has to occupy one's time in some fashion. For me, those interim days are usually spent exercising, exploring, learning to cook something edible, and working on my own creative endeavors.
The type of acting that I'm interested in, that I aspire to, is where I try and drag a lot of myself into whatever character it is. They can be very different types of characters, but at the heart of it, I always wanted to be a very, very believable and rooted in reality. One of the ways of doing that is to root it as much as you can in your own experiences and then tint those with different hues, different colors to give the different characters their way.
When I'm improvising, I'm out of my head. I've done a lot of projects recently where there hasn't been a script. It's all been based on outlines. At first, that's terrifying, just because you don't have the words in front of you and you don't know how it's going to come out, but that's what's really exciting about it. You don't know what's going to happen. It really forces you to listen to the other people, and I think the most natural acting comes out of that.
There's always the day where you do the effort noises, so there's a lot of grunts, huffing and puffing, pretending like you're hopping over things, pretending like you're getting hit, and pretending like you're kicking. If any of that was recorded, it's some of the silliest stuff I'll ever do, as an actor, but it's fun and liberating, in a way, 'cause no one can see me. I videotape myself doing it sometimes, to send to my friends just to remind us how ridiculous our jobs are.
My children are my greatest gifts and my greatest inspirations. That my husband is the most honest, kind, hard-working, and genuine person, and I honestly don't know how I could ever live without him. That my parents love me and I love and appreciate them. That I hate doing taxes. That my biggest pet peeve is inconsiderate people. That I love laughing, traveling, volunteering, and my friends. That my favorite smell is chocolate chip cookies baking in the oven. That I am blessed.
The idea of a company that's earning money, not losing money, that's not, let's say 'industrially endangered,' to have just cutbacks so they can earn another $12 million or $20 million or $40 million in a year where no one's counting is really a horrible act when you think about it on every level. First of all, it's certainly not necessary. It's doing it at the worst time. It's throwing people out to a larger, what is inevitably a larger unemployment heap for frankly no good reason.
Plato in his dialogue The Phaedo says that whereas sticks and stones are both equal and unequal, (so maybe what that means is that each stick is going to be equal to some other sticks and unequal to some other sticks, so equal to the stick on the left maybe but shorter than the stick on its right) the form of equal is going to be just equal, and it won't partake of inequality at all. And it will be the cause of equality in things that are equal, for example, equal sticks and stones.
I think it's important to realise that what happens in Neo-Platonism beginning with Plotinus and Porphyry and then going on for the next several centuries, is a real kind of contest for the ideas and convictions of the intelligentsia of the later Roman Empire. So that you have Christians slowly converting more and more powerful people until of course actually Constantine and then other emperors after him, become Christian, and the empire becomes a Christian empire rather than Pagan empire.
Before the 3rd century you're having several philosophical schools still as a going concern. You have not only the Platonists and the Aristotelians but you have Scepticism, you have Stoicism, you even have a little bit of Epicureanism. And what happens after Plotinus is that everybody becomes a Neo-Platonist. So if we then go forward to the Islamic world for example, Plotinus is immensely influential, and Neo-Platonism becomes at least one major component of mainstream Islamic philosophy as well.
As a mother, anything to do with my children, whether it's supporting their school or programs that support their education and enrichment. As a wife, anything that my husband is passionate about and helps to support. As a community member, anything that supports the Vail Valley, the place that I call home. As a friend of the founder and true believer in their mission, an organization called First Descents. They provide adventure camps to young adults and adults with cancer or who have survived cancer.
Improv is not something I had a lot of experience with, because for a long time, my only experience in front of a camera was all television, which is pretty rigid script-wise, except for the occasional scene where you toss in an ad-lib just to elongate something. Like, say, you're walking down a hall and you just don't have enough dialogue, and you throw in something. But you don't really have time to do other than what's written. It's very rigid. Shows have a certain rhythm that nobody wants disturbed.
Nothing is a conscious choice as an actor at the begining stage. There's so little that's a conscious choice even now. The offers, as absolutely limited as they are even at this point in my career, I have to really think about. I have a family, and it's a job. There are times when you take work that you normally may not dig. If someone says, "I want to meet with you," and they're about a hundred miles away, just go. You never know what might come out of it, and if you can make it, make it to the meeting.
As much as I love acting and I hope to be doing it for a long time, it almost feels more natural for me to be a producer. I came into all of this because I'm a fan of movies and I wanted to find any way I could to be a part of it all. I happened to take the acting route but it could have been a million different ways in. Now that I'm producing it's just really fun for me to work with people that I really admire and put people together who I think will work well together. Just having a little more control.
I'm 64, but I act like I'm still 12. I go to schools. At colleges, they come out in droves, they almost scare me. I think it's just to see if I'm still alive. After I work them out - and it's not easy - I sit them down and we have a serious talk. Are they eating? Working on their body? I can say things parents won't say. No matter where I go, I talk to each one individually after I teach. They tell me things like, 'I'm starving, guys like girls thinner.' I give them concrete advice about self-image and self-worth.
Al-Ghazali is the most important philosophical theologian of classical Islam, and Moderation in Belief is among his most important works. It sets out al-Ghazali's Ash?arite theology with unusual clarity and provides important background for such well-known works as his autobiographical Deliverance from Error and his attack on Avicenna in The Incoherence of the Philosophers. This first English-language translation, with notes that bring out the argumentation and background of the work, is thus very much to be welcomed.
We are extremely proud to represent all of Radio One's stations within the Katz Radio Group. For the past five years we have worked diligently alongside Radio One to build their business in the markets we have historically represented including Houston, Los Angeles, Philadelphia , Raleigh and Columbus. At a time of significant growth in the African American consumer market the addition of the remaining Radio One stations expands our ability to deliver strategic marketing solutions to our agency and advertiser customers.
I think the film and TV industry - the acting world - has a tendency to attract a lot of people for the wrong reasons; reasons that are less than artistic. It has a tendency to be pretty superficial, and pretty shallow and fake. I think what New Zealanders and Australians - and the English, I guess - have to offer is that we don't carry a lot of that baggage. We come over and we're pretty grounded. But on the flip side of that, you end up in a very unfamiliar environment being treated in a way that's a little bit surreal.
I usually experiment with posture and physical attributes that may inform the character. Next, my impression gets a nice injection of inspiration when the costumes arrive and I can see his silhouette in the mirror. Then I go memorize all the lines and try and connect each line to a thought I think he might have. Then I show up on the day, wait my turn, and when the director calls "action," I trust that I have done enough work on my impression that I can just believe it strongly enough to play with abandon from inside that character.
I was tied down in that chair for 10 minutes and experienced what it was like to be completely powerless while someone else has complete dominance. It's sadistic, even though I find Richard to be a really lovely human being. That's what the whole film "Tickled" is about. It's not a film about tickling, but I think tickling offers a really good visual metaphor for the much bigger ideas that we were trying to get at about power and control - by people who have a lot of money - over people without money and who have no power in the relationship.
I'm always trying to find that role that will allow me to stretch and play a lot of different sides, but it's hard. To be frank, as an actor, I read maybe a hundred scripts a year and I really strongly respond to probably two, but every other actor in town responds to those two scripts, as well. It's hard to land those roles that are really good because they're coveted. That's why I try to create for myself, and that's why I've been doing things outside of acting, like writing and producing. I try to not have to depend on other people so much.
I think America is a really interesting place. In New Zealand, we don't sue each other really commonly. There's a really specific reason, like someone's arguing over a fence that's been put up that's too high. Sort of practical things. And journalists are rarely sued for things. Whereas in America, you have a culture where that's the first thing you do. There's an ongoing pattern here where if you've got money, you can bully other people into doing what you want them to do. You don't need to be in it to win, you just need to be in it to be a pest.
There's a stronger and more kind of controversial element of Plotinus' view of matter, which is that he actually identifies it with evil, or at least the principle of evil, and the reason for this is that he thinks that the the One, the highest principle, can also be thought of as the Good, and that's kind of surprising like, because he has this negative theology which doesn't allow us to say anything about the One. But he believes that it can be seen as the principle of goodness as well as unity, and that if you think about it, goodness and unity sort of go along with each other.
It's not that you don't want to earn as much money as you can - it is your obligation, of course - but companies have obligations beyond that and they certainly have obligations beyond that at certain times, in the times in which they operate. And they also certainly ought to know that meeting and beating expectations is probably yesterday's game and it will be increasingly so, which would be by the way very healthy for companies. Running a company that meets and beats expectations, and that runs their company accordingly, are companies that I would question why anyone would invest in.
It's unfortunate we live in a society where "gay" is an insult. To some of these boys, who are from really red states and have families with military history, to be called gay is the worst thing imaginable, and that's used against them. It's really interesting that these are the people drawn into the tickling world. If the people drawn into competitive endurance tickling, even if they were straight, came from liberal, accepting backgrounds, the backlash of calling them gay wouldn't be a problem. But it's a problem because of where these people are from. That's really fascinating to me.