Steve Carell (Steven John Carell) Quotes
You project a version of yourself to the public to protect and insulate yourself a little bit. Actors come up with a version of themselves in order to protect the real person.
Quotes to Explore
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My first novel, 'In the Drink,' begun when I was 29 and floundering and published when I was 36 and married, was about a 29-year-old woman whose life was even more screwed up than my own had been.
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The wind is a very difficult sound to get. It's always changing.
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Language is possible due to a number of cognitive and physical characteristics that are unique to humans but none of which that are unique to language. Coming together they make language possible. But the fundamental building block of language is community.
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I may be a star in the South, but when I go to Bollywood, I am a clean slate, a white paper. Whatever the director makes of me is what I will become for the audience.
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The one thing you don't want is that stale sound when you've done a line so much you can't find a fresh approach to it. Drop it.
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Back then, I was doing more of my impression of what a comic is supposed to do.
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I turned vegetarian after 9/11. A friend of mine came back from New York and said that he couldn't stand the smell of burnt flesh. It immediately reminded me of a barbecue.
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When I grow up I wanna be like Omar
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From the time I read my first Hemingway work, The Sun Also Rises, as a student at Soldan High School in St. Louis, I was struck with an affliction common to my generation: Hemingway Awe.
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When you have a clear vision of your goal, it's easier to take the first step toward it.
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I think there's more pressure to stand out in a way that is measurable externally. The fame culture is definitely way worse and weirder than it was when we were in high school.
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There is no happiness. There is only concentration.
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I pursue one goal the encyclopaedia of life.
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I do think there must be some kind of interaction between your living life and the life that goes on from here.
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I try to always be open to what the actors want to try. I don't storyboard and try to be intuitive and open on the day of filming.
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Her accent's funny, different from mine, different from anyone in Prentisstown's. Her lips make different kinds of outlines for the letters, like they're swooping down on them from above, pushing them into shape, telling them what to say. In Prentisstown, everyone talks like they're sneaking up on their words, ready to club them from behind.
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I work on stretched linen canvas, sized so that the surface already has a sense of tension when I begin. It is a very rich and reactive surface. I begin by drawing on the canvas with a kind of loose line, very simply and freely. I paint very thinly, which allows me to change the drawing if I want to.
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Guilt is tricky because we confuse it with caring. ... It's the next best thing to being there.
