Michael Rapaport Quotes
Quotes to Explore
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Sometimes it's less about the character and more about the story for me. I'll play a rock in the background if I think the story is fantastic and I can be a part of it somehow. That's what I look for.
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There's such a sense of theatre in getting glammed up; it's like putting on a play or short film.
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We know that the elements in play in a show like 'Confederate' are much more raw, much more real, and people come into them much more sensitive and more invested, than they do with a story about a place called 'Westeros,' which none of them had ever heard of before they read the books or watched the show.
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I once literally had a casting director ask my agent, 'Can she play anything other than a drunk?'
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I grew up playing about 15 instruments and the way that I was able to accomplish that was by cutting my classes, hanging out in the band room all day, and going from one instrument to the next to the next, until I learned how to play everything by ear.
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You feel this pressure that people will take you more seriously if you play guitar, but I've decided I'm a singer and that's enough.
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The villains that I play, I always think that they are grounded, wonderful people with enormous intellects who are very exciting to spend an evening with. I never see them as bad people.
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I have never been to a museum in Hong Kong, or a movie or a play. I've never gone club-hopping. I've never taken the tram to Victoria Peak.
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The greatest obstacle to being heroic is the doubt whether one may not be going to prove one's self a fool; the truest heroism is to resist the doubt; and the profoundest wisdom, to know when it ought to be resisted, and when it be obeyed.
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I wrote my first play when I was eight.
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The '70s were a time of turmoil and turnover. But I grew up here. I always wanted to play here.
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Experience without theory is blind, but theory without experience is mere intellectual play.
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If I play, I try to concentrate on producing my best.
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I'm still enjoying discovering more designers and getting to play dress-up in a bigger way than I ever have before.
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My first play was 'The Room', written when I was twenty-seven.
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After ten or twelve years you can only play something so long and then you start to parody it.
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Talent is what you possess; genius is what possesses you.
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One disadvantage of being a hog is that at any moment some blundering fool may try to make a silk purse out of your wife's ear.
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The success of Revamp is clear. We've sold a lot of albums, we've done very good tours, and wherever we play, we get a very positive response, and that's something that would be very nice to keep.
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Quilliam will remain a priority for me because its values shape my beliefs and outlook.
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A piece of art is not a loaf of bread. When someone steals a loaf of bread from the store, that's it. The loaf of bread is gone. When someone downloads a piece of music, it's just data until the listener puts that music back together with their own ears, their mind, their subjective experience. How they perceive your work changes your work.
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When listening to the sound material, we metamorphose the inside into an outside. This notion of metamorphosis is one of the principles that leads the course of the musical suite, reflecting changes (fluidsolid passages: water/ice/fire) or movements (ebb/flow/wave, inspiration/expiration) or inside-outside passages (door/individual/crowd). Thus, the perceived object is not entirely what we would have liked it to be. Our music brings us closer to some while it takes us away from others: each with their own inside.
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Only a genius can play a fool.
