Roles Quotes - Page 49

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When I started coming to the U.S., they were offering me only the typical stereotypical roles: the druggard, the criminal, the gang member, or in the best-case scenario, the gardener or the cook. I was fed up with all these roles that were always the same. And I promised I would try to change the image of Latinos in Hollywood.

J.K. Rowling said Bellatrix's role was going to be significant in the last one, when I showed some reluctance in playing a tiny bit part. Up front, they said, 'You're very significant in the last one.' But significant could mean a lot of things. That could just mean a significant plot point. Doesn't necessarily equal big part.

One of the first speaking roles I had was in a film called 'Svengali', with Peter O'Toole and Elizabeth Ashley. I was a waiter, and I had about three lines. And I was ready! I had been around people like that, and I knew they were just actors. All the work I had done, it was all there, and I felt like I knew all the mechanics.

There is a sense in which the United States Ambassador speaks to the United States, as well as for the United States. I have always seen my role as a thermostat, rather than a thermometer. So I'm going to be actively working... for my own concerns. I have always had people advise me on what to say, but never on what not to say.

As a young actor, I was advised to bide my time. Back then, there weren't good roles for someone like me. There were handsome leading men and character actors for smaller supporting roles. But I was told to hang in there, and it was good advice. We're all character actors now. Even a handsome man is a character actor at my age.

When you really want a role and you really want a character, you become quite close to the script and the project, and it is sad when it doesn't go your way. But I've found there's always another one, which will be as good if not better. You can't let your failures bring you down when you're an actor, because then you can't get up.

I don't think I'm the best-looking actress around. I'm not Katrina Kaif; she is stunningly beautiful. There are some roles that might need a beautiful girl, and there would be a doubt in a director's mind whether he should cast me. But that perception will change with time. I'd like to believe actresses look better with experience.

I went into the foreign service because I was interested in politics. But, in 1991, when I joined, I didn't see much of an opportunity to be involved in federal politics as a Conservative. We were at the tail end of the Brian Mulroney era. I wanted to do something non-partisan as a way of preparing for a role in our politics later.

You can't be perceived as 'the black actress who doesn't get the same kind of roles as the white actress.' You gotta run the same race. You gotta give the same quality of performances. You gotta have the same standard of excellence, even though people know that you're coming to the race in a deficit. That's just what life is about.

Some writers whom I respect very much, like China Miéville and some others of the New Weird, consider the true role of fantasy to be not Tolkienesque consolation but subversion - a kind of rebe Ûllion from complacency. Yes, I can see what is meant here. And I also see the need to change, to fix, to drastically improve the human lot.

The State certainly played a decisive role. I also believe that it may have stemmed from the rivalry itself. Grow or die, devour or die. That's the one problem that I have to wrestle with. I have to wrestle with whether or not rivalry in the free market does not ultimately lead to concentration, corporatism, and finally totalitarianism.

I think our intelligence is a source of toxicity to nature and discomfort to ourselves unless our values are based on planetary values, are linked to the values of the rest of nature. Intelligence is not a license to trample. The proper role of intelligence in a planetary ecology is that of gardener, caregiver and maintainer of balance.

There have been times when I've been asked to do things and I've thought, "This is great! This is a great script. But, I do not believe myself in this role." I pretend I'm the producer and I think, "If I was making this movie, would I cast myself in this part?," and if that doesn't feel right to me, then I don't even go audition for it.

I am honoured to be asked to take on this role, especially as it comes at such an integral time for our relationship with South Africa and the African continent. There shall be many new challenges and opportunities ahead and I look forward to embracing them with great anticipation [on becoming the UK's high commissioner to South Africa]

I always took my role as a leader, and certainly chairman and CEO of a major company very seriously as to our employees and trying to create opportunities for them and create opportunities where they could even, as I said many times, could realize their God-given potential and maybe realize more potential than even they realize they had.

What the British seem to like are television historians and naturalists, not public intellectuals. You can't help feeling that's because one supplies narrative and the other supplies facts, and the British are traditionally empiricists so they/we have a resistance to theory and to theoreticians playing too prominent a role in public life.

In the Bible and Holy Qur'an, God shows us through the life of His prophets and messengers that none of them came into the world to do their work without severe opposition against them. That was with Abraham, Noah, Lot, Moses, Jesus and Muhammad, peace be upon them all and all the prophets and messengers in between. That is our role today.

Sometimes I'll read things in the script and think, "That's not how humans behave," or "I don't understand how to do that role and make it seem like I'm not some kind of strange alien or on a sitcom." I don't get it, and when I feel that way, I have to listen to my instinct. My initial instinct does lead me in a direction that I can trust.

When youre doing what you love to do, you become resilient. You create a habit of taking chances on yourself. If you do whats expected of you, and things go poorly, you will look to external sources for what to do next, because that will be your habit. You will be standing there frozen. If you are just filling a role, you will be blindsided.

Obviously solving the education problem is big and complex, and there's already so many failings, but coding is the new fluency. This is the most valuable skill of this century. If you want to be a founder of a company, and not even just a tech company, but like a founder of a company, because I'm telling you software is going to play a role.

Having played many roles of scientific intellect I do have an empathy for that world. It's been hard on me because flying the Enterprise for seven years in Star Trek and sitting in Cerebro in X-men has led people to believe that I know what I'm talking about. But I'm still trying to work out how to operate the air conditioning unit on my car.

We are social animals and we have a hierarachical and unequal society. It is a class society, and the class system creates and perpetuates the social role of consumption. We display our class membership and solidify our class positioning in large part through money, through what we have. Consumption is a way of verifying what you have and earn.

Remember the great film with Bette Davis, All About Eve? There's a scene after the scheming Eve steals Margo's role through trickery & then gets this magnificent review. Margo of course is effing & blinding all over the place. And crying. Her director rushes into her house, puts his arms around her & says, "I ran all the way". That's what I want.

One might think of investment managers as astronomers and CEOs as astronauts. The two roles are radically different with distinct personality traits. Like astronomers, investment managers tend to be introverted, skeptical, and very analytical. CEOs, like astronauts, are the exact opposite, typically being extroverts, optimists, and, well, leaders.

There's no point in it unless it's a story that you really want to tell. It's a nebulous job. Unless you're doing it well, you're not doing anything. And there are a few of those. It's perfectly possible to be a passenger on a film set because if somebody else has written it, you can make nothing of that role and that's exactly what bad directors do.

Organisms [...] are directed and limited by their past. They must remain imperfect in their form and function, and to that extent unpredictable since they are not optimal machines. We cannot know their future with certainty, if only because a myriad of quirky functional shifts lie within the capacity of any feature, however well adapted to a present role.

My role relationship to the event will continue to mutate. My relationship to my mother will continue to change as I revise my judgments of her depending on what I learn about her. It goes on. But I feel no less obsessive about my work and no less passionately committed to the life I have now, but I feel poised inside. Which is a good thing to feel at 48.

It isn't called TV money for nothing. There was a time where I paid my rent by doing theater for years, and I was able to buy groceries and pay my electric bill. I considered myself to be making a living as an actor. This kind of money that we make is a whole other level, of course. But it really is simply the cherry on top of a job and a role that I adore.

Our modern economy privileges pure profit, momentary transactions and rapid fluidity. Part of craft’s anchoring role is that it helps to objectify experience and also to slow down labor. It is not about quick transactions or easy victories. That slow tempo of craftwork, of taking the time you need to do something well, is profoundly stabilizing to individuals.

I'm just glad to get any role... the fact that they're all 90 is neither here nor there! Actually, it was Hook that started it. I think it was Peggy Ashcroft who couldn't do the part and somebody was asked how old was I and would I be able to do the part, and the person replied "92" very quickly. And so I've been stuck ever since! But I'm actually very grateful.

As for the eastern part of the former Soviet Union, the picture is rather uniform. Authoritarian structures prevail to differing extents. But we can still determine certain regularities, and the role of Russia is not to be underestimated. It is clear that we would have the same situation in Tajikistan and, let's say, Uzbekistan without the direct influence of Russia.

The role of metaphysics in relation to other disciplines, whether philosophical or not and including the natural sciences, is thus a foundational role. Lack of clarity in the concepts of metaphysics implies lack of clarity in other disciplines - both theoretical and practical disciplines - employing those concepts or employing concepts that depend on those of metaphysics.

This socialism will develop in all its phases until it reaches its own extremes and absurdities. Then once again a cry of denial will break from the titanic chest of the revolutionary minority and again a mortal struggle will begin, in which socialism will play the role of contemporary conservatism and will be overwhelmed in the subsequent revolution, as yet unknown to us.

Do not accept the roles that society foists on you. Re-create yourself by forging a new identity, one that commands attention and never bores the audience. Be the master of your own image rather than letting others define if for you. Incorporate dramatic devices into your public gestures and actions – your power will be enhanced and your character will seem larger than life.

I went out to Bali, and I cast all of these supporting roles. I love that stuff. I just love actors. And then, Ryan Murphy asked me to direct second unit for him on Eat Pray Love. I was already booked on something else, but I joined them later. And then, I wrote him a thank you email and I got no response. I was like, "Okay, that's it." We didn't interact much on set either.

For the only time in my career, I came in and met Tony [Richardson] for the part - I did not read, I just met with him - and in the middle of the meeting, he told me that I had the part [in The Hotel New Hampshire]. There was never, "Well, thank you, and we'll have my people call your people." There was none of that kabuki that goes on now endlessly for even the smallest role.

The more students work at storing the deposits entrusted to them, the less they develop the critical consciousness which would result from their intervention in the world as transformers of that world. The more completely they accept the passive role impressed on them, the more they tend simply to adapt to the world as it is and to the fragmented view of reality deposited in them.

I had to audition for Fandango. When I read the script, the role that was interesting - so everyone thought - was the role that Costner played. He was the cool guy. And I read the script, and my representation at the time said, "That's the role you should read for." And I was like, "Really? How about I read for this other role." And they went, "Well, you're not going to get that role."

I'm really curious as to the actual structure of the Emni [the intelligence unit that handles foreign attacks]. And Abu Muhammad al-Adnani, the head of it. There are so few pictures of him. We don't even really know what he looks like. For somebody with this outsized influence projecting murder abroad, you'd think that we would know a lot more by now. And then the role of the hostages.

When a social movement adopts the compromises of legislators, it has forgotten its role, which is to push and challenge the politicians, not fall in meekly behind them. We who protest...are not politicians. We are citizens. Whatever politicians may do, let them first feel the full force of citizens who speak for what is right, not for what is winnable, in a shamefully timorous Congress.

That was Robert Aldrich. And that [Emperor Of The North] was one of the only times I actually got a part in a movie in the conventional way: The role was there, I auditioned, I auditioned again, and then I actually did a full-fledged screen test, which they shot on a soundstage on the lot at 20th Century Fox. They put up a set, and Robert Aldrich actually directed me in this screen test.

How you prepare for a role is entirely your business in my point of view. There is little enough mystery anymore left in the world in the part of our profession, which should be clouded in mystery because it isn't in the public. You don't want the magician to show his tricks or how he did them do you? So I do think that is a very private thing that we actors should protect ourselves from.

A person is either himself or not himself; is either rooted in his existence or is a fabrication; has either found his humanhood or is still playing with masks and roles and status symbols. And nobody is more aware of this difference (although unconsciously) than a child. Only an authentic person can evoke a good response in the core of the other person; only person is resonant to person.

With a role like Hedda Gabler, which is incredibly complicated, you often feel that you haven't even scratched the surface the first time around, so you relish the opportunity to do it again, particularly with an ensemble of actors and the company we assembled. But when you do that in films you somehow have to make some attempt to uncross people's arms and you have to justify why you're doing it.

Consequential strangers help us stretch beyond the relatively rigid boxes that the people who have known us the longest - our family and close friends - often put us into. Through interacting with people who do not know us as well, we are more free to experiment with ourselves, and less likely to have our new behaviors and roles reflected back to us by people who object, 'But that's not like you!'

There was recently a story out that I turned down a role in a major franchise. That's not true. I refused to audition for it. I didn't get the part. I didn't even go in because I thought that the part was just a repackaged version of the parts I played before in these young adult films - sort of moody, masculine, but sensitive and all this kind of thing. It was just a repackaged, rather dull thing.

My relationship with Leonard [Nimoy] was a byproduct of playing Spock that I never would have imagined, but the more I got to know him, the more I realized, there are no mistakes. I'm playing this role for very specific reasons, and maybe those reasons have to do with where I am creatively in my life, but maybe they have to do with where I am personally in my life. Leonard was such a teacher for me.

Each time I take a role, I'm always nervous about it at the beginning and I'm always afraid what if that, what if this. Every time I take a role and I'm somewhat terrified at the beginning and I get into it and I start working, that's a big win for me. So, really it is stepping forward in the face of whatever fears that I've created for myself and going forward anyway and those are always big moments for me.

ITV and the production company contacted me and asked if I fancied playing the role [of Maigret]. It took me a long time to decide to do it. In fact, I decided not to. I thought about it for some weeks, and thought 'perhaps not' and it went away for a while, and then it sort of came back. They said 'Are you sure you don't want to play him?', so I thought about it for a lot longer again, and eventually decided that I would.

I don't know if you hear this often but I would say The Razor's Edge (loosely based on a great W. Somerset Maugham novel). This was Bill Murray's first dramatic role so everyone thought he stunk in this deep character but I thought he and the movie were great. The movie takes place over decades so you see Murray's character go from goofy playboy all the way to wiser, older person. It's basically a movie version of the journey I described.

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