Oscar Isaac Quotes
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If you start trying to communicate ideas, I think you don't allow the audience to see themselves.
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I've been fortunate to be working mostly right out of school. Every year, there was a little something, and it kept the confidence going. It's about confidence and the belief.
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I like being like a chameleon who transforms himself with each role.
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There's very few people - like Shakespeare - who, no matter what, were gonna do what they did. For the rest of us, there's a lot of events that have to happen in order for things to end up the way they are.
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That first play I did in New York, Rogelio Martinez's 'When It's Cocktail Time in Cuba,' I played a young Fidel Castro.
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I come from a place where everything about me, even my body language, is saying: I mean you no harm. I smile, I laugh. Basic stuff for most people.
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Being someone with Latin roots, so many doors are constantly closed for you because people put you in a category, and the thing I've always wanted to avoid is categorisation.
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For me, with a character, you start with the shoes.
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I really just like characters who you don't know where they stand for a long while. It's like people. You hang out with them for 10 years, and then all of a sudden they do something, and you say, 'Who are you?' That's more interesting. In life and on-screen.
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I like the idea of the comedy of resilience.
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J. J. Abrams is amazing.
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I had a great conversation with Tom Waits, of all people.
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I'm so bored by business and money.
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All of my high school issues are resolved!
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I get attached to things: I wear the same jeans for a year.
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I was always - maybe stupidly so - very confident.
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I wanted to shred, so I learned classical guitar.
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I had an audition where Josh Brolin was pelting me with his personality. I didn't get the part.
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With Shakespeare, there's no subtext; you're speaking exactly what you're thinking constantly.
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Max Minghella is a very close friend of mine, and I talk to him regularly.
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I guess 'Scarface' was the Cuban Al Pacino.
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I grow up in the States, in Miami, but I was born in Guatemala, and my father's Cuban, and in 'Body of Lies,' I played an Iraqi.
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When I came up to New York to do a play, I passed by Julliard, and I was like, 'Oh I heard of this place.' I applied, and ended up getting in.
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Usually when I write a song, I'll write the music and then kind of fit some words to it.