Joe Cole Quotes
Accents influence a performance. If you look at Stanislavski, he says work from the in to the out, and I probably overall work the other way. I find an accent and a mood, and that influences the character massively.
Quotes to Explore
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Work on good prose has three steps: a musical stage when it is composed, an architectonic one when it is built, and a textile one when it is woven.
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I'm just a black hole for stuff. No one should ever hand me anything, because I get so easily distracted. I'll be like, 'Oh, look, something shiny!' I'm glad I never learned how to drive. I would be really dangerous.
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When companies get big, they slow down. They're not as exciting. If you want to get something done, it takes a lot of time and a lot of meetings.
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It's nature-nurture, right? I've been nurtured by Californians.
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Acting is doing. It's not speaking; it's behavior. It's something happening, even if you're only listening.
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When people don't understand my work, I don't feel like explaining.
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Life isn't about quantity, it's about quality.
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I did every job under the sun from bartending to ushering to temping.
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There comes a time when every scientist, even God, has to write off an experiment.
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I don't know that Islam has ever been a subject of anything that I've written. I think Muslims have often been, but those are two very different things.
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There's a certain fear of simplicity. I think that's the thing, when you're younger as an artist, you get this idea in your head that complexity equals quality. The more notes you're playing, the better.
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My work always presents problems in our society. Those problems may be anything from injustice to freedom, and everything related to humanity.
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I can write best in the silence and solitude of the night, when everyone has retired.
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I liked to be around my friends, but my dad was out there, day in and day out.
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I like jazz, rock n' roll, some hip hop - I can't think of any music I don't like.
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Life is not long, and too much of it must not pass in idle deliberation how it shall be spent.
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A friend told me about the casting notice for 'Queer Eye.' I was in Chicago and I had a contract with 'Esquire' magazine, so had been coming to New York City regularly and thought I'd catch a cheap flight, crash on a friend's sofa and do this hilarious audition that I had no chance of winning.
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I was impressed by the Taj Mahal. A good bit of work, well looked after, worth paying money to see.
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I was directed and commanded by another power. The power of darkness. The power that you've heard so much about. The power that a lot of people don't believe exists. The power of the Devil. Satan.
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The less a writer discusses his work-and himself-the better. The master chef slaughters no chickens in the dining room; the doctor writes prescriptions in Latin; the magician hides his hinges, mirrors, and trapdoors with the utmost care.
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You have to start with the acknowledgement: 'My partner is a smart, capable person who is just different from me. Now how are we going to work together?'
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Most country songs, certainly all the stuff I've written, are stories driven by characters.
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Accents influence a performance. If you look at Stanislavski, he says work from the in to the out, and I probably overall work the other way. I find an accent and a mood, and that influences the character massively.
