Quotes of All Topics . Occasions . Authors
I'm Braun Strowman. You can't put me in a category with anyone. I'm my own entity - there's nobody else like me - so I'm going to continue going out there to be Braun. I'm no good guy or bad guy, I'm Braun.
When you play a character, you get to see the world through their eyes. Whether it's a fictional world or a real world, you do get to see somebody else's point of view, whether he's a good guy or a bad guy.
Everyone's the hero in their own story. You've lived your life. You're the good guy of your life, the protagonist of your own movie. Everyone knows that they have more in them to offer than they sometimes show.
I think the self is complicated, that at various times we are all various people, and wrestling actually does a lot with that. You have things like heel turns where a person goes from being a good guy to a bad guy.
As long as I have the talent and there's a demand for the old Chinese man - whether he's a philosopher, or a master, or an old-time restaurant owner, or a villain, or a so-called good guy - I will always be working.
I always said that if I could just find a guy who could chop wood and had a nice smile, it wouldn't bother me if he was a thug or an aristocrat, as long as he was a good guy. And I've ended up with an educated thug.
One of the big things that if you've got a guy who is doing things that other people could view as evil or bad, then you've got to find the silver lining: you've got to find the thing that makes this guy a good guy.
I'm excited that 'The Good Guy' is getting distribution because indie movies they're not - people ran out of money and they're not making these movies anymore. It's all superhero movies or real obvious tent pole studio films.
I've had nights where it's very obvious that I'm the good guy, but I'm still booed, and you can kind of make a checklist about reasons why they're booing me, and one of the evident ones is because of my name and where I'm from.
You don't really get it from NASCAR that they want you to be the bad guy or the good guy. They'll kind of joke around with you and be like, 'Hey, that was really good this past weekend. You did a great job for us. Ratings were up.'
I once said that I never wanted to be a good guy or the 'baby face,' as we call it in the wrestling business. But you know, it is what it is, and I'll be whatever they want me to be. At the end of the day, we work for the WWE fans.
When I play a good guy, I try to explore them and figure out what shapes them and makes them interesting. When I'm playing a bad guy, I try to explore everything that makes them good. No one ever really thinks that they're a bad guy.
I just let the work speak for itself. An actor is not afraid to take risks; to put on different hats; to be a good guy, a bad guy, a victim, an abuser. There are all kinds of people in the world, and playing them is what acting is all about.
Playing a bad guy is always a freeing experience, because you don't have the same envelope of restrictions as you have playing a good guy. Good guys restrain themselves; they kind of have their moral fiber cut out for them in varying degrees.
The most propagandistic element of 'Frozen' was the transformation of the prince at the beginning of the story, who was a perfectly good guy, into a villain with no character development whatsoever about three-quarters of the way to the ending.
I much prefer playing the bad guys. I think they are always the most interesting characters. I liken it to painting: if you're playing the good guy, you get three colors: red, white and blue. But if you're the bad guy, you get the whole palette.
It's very true that you can be both selfless and selfish at the same time. What we tend towards, particularly in filmmaking, is this binary sort of, 'This is a good guy, this is a bad guy.' And I quite like the fact that life is a bit more complex than that.
John Abraham is a really good guy. We get along very well. It's a nice thing when you have a great tuning with your co-stars, as it makes the working experience all the better. Then you look forward to working with each other every day when you are shooting.
For Michael Wright and Frank Darabont to cast me as the ultimate good guy and Eddie Burns as the ultimate bad guy, and really switching roles from what we usually play, is pretty awesome. That generally doesn't happen, but TNT is a horse of a different color.
What makes 'The Wire' a beautiful story is how true to life it is. In other shows, you have a good guy and a bad guy. In 'The Wire,' bad guys are trying to be good, good guys are doing bad. You have real life. The people who do bad get bad things done to them.
I think we're so advanced when it comes to watching narrative material. I mean, it's all we do is consume content all day long. So when a character walks onscreen, you immediately start making connections for that character: Is that a good guy? Is that a bad guy?
I'm always going with my visceral reaction when I read a script. I am more drawn to characters who are conflicted, and in developing a character exploration. If it's a baddie, I'm rarely intrigued, and if it's a goody two-shoes - too much of a good guy - I'm not, either.
Most big popcorn movies are 'bad guy does something to good guy, good guy gets revenge on bad guy, sets the world right, and moves on.' And 'Ender's Game' is just not that simple, so it's an exciting challenge. It's a little terrifying, and let's see how audiences respond.
Kimbo Slice the man, you watch the YouTube videos of this guy in backyards, and they start fighting and you think this guy's a thug. You think he's a bad guy, you have this perception of him and then you meet him, it isn't true. It's the exact opposite. He's a really good guy.
I really thought I knew Johnny Cash. I thought I didn't need to spend a lot of time researching his life. But I wasn't within 50 miles of knowing Johnny Cash. I knew he was a good guy and a dedicated artist, but I didn't know the demons, the struggles he had in his personal life.
When I was young, I read the Bible, and I already knew what it meant to be the good guy - and look what happened to Jesus. So, I already understood that you get ridiculed for telling the truth, and I've always been aware of that. But, I'm a guy with confidence, and I'm not afraid.
'The Good Guy' is a totally differently-looking New York than 'How To Make It' portrays. 'The Good Guy' is all about Wall Street and that culture, which 'How To Make It' touches on, but 'How To Make It' also is downtown, Lower East Side loft parties, cool clubs, Brooklyn and that world.
My son, who's on the spectrum is a very rigid thinker. He needs clear-cut definitions of right and wrong. Anything hazy or gray confuses him. For instance, if I try to get him to see that a friend behaved badly, he'll often get upset with me because a friend is a 'good guy' by definition, in his book.
When I am a good guy on TV, my character tends to be almost identical to how I am as a real person. However, as a bad guy, I get to be the opposite. I get to be a jerk. I get to talk trash, I get to say all the things that I'm thinking but have to restrain myself from saying out of respect or decency.
A friend of mine who is in the publishing business knew I was writing a book, and he said, 'Have you said anything yet about the good guy? Because I know you spend so much time with the bad guys.' Because they're fun. So then you have to make the good guy fun, in order to compete. That's the challenge.
Every time I'm a good guy in a movie, which is the 'Marine,' people are like, 'Wow, you can play endearing. You can play kind and nice and sweet but yet hardcore.' And I'm like, 'Yeah. Just because The Miz is a jerk and an egotistical maniac doesn't mean that there isn't a softer side to Mike Mizanin.'
Whenever I read a script or sign a film, I don't see whether he is a bad guy or a good guy. I see how much the character is contributing to the story? How much is the importance of the character in taking the story forward? And what new I would be able to learn and what new I would be able to try in that?
My father wanted to be a hero. He went to the Air Force Academy, was valedictorian, and then he found himself strafing villagers in Vietnam in a war he didn't want to be in and didn't understand. He was extremely conflicted about the line where he went from being the good guy to possibly being the bad guy.
I shouldn't have to come out and say, 'Hey, I should be a starter again.' There's a lot of guys that say that, that shouldn't be starters. The key is to go out on the field and lead your team to show people that, 'Hey, this guy is a good guy in the locker room. He can lead a team. He did it on the field. He's shown it.'
Why would a lazy guy become a parent of five? Then again, why would creative people who inherently don't like change and criticism become writers, actors, or comedians? There's something about this process. I joke about it: My kids have made me a better person, and I only need, like, 34 more of them to be a really good guy.
You don't have to know anything about baseball to respond to Babe Ruth because he's just this magnificent human being. And a really good story because he was this kid who grew up essentially as an orphan, you know, had a tough life, and then he became the most successful baseball player ever. But he was also a really good guy.
I have certain things that I stand for, certain things that I believe in, and if you don't like it and you tell me to go to hell, I think that's your God-given right as a fan. It's one of those deals where I'm that one guy who is outside of that realm of good guy, bad guy. I'm just me, and it elicits a response both positive and negative.
If you're playing a good guy, you show some darkness. If you're playing a dark guy, you show something different, like humor, that will mix it up and hopefully surpass the audience's expectations. What I'm battling all the time is complacency in the audience. I try to bring a little mystery to what might happen because that engages people more.