Gong Chan-sik (Gongchan) Quotes
I'll let her go. I won't let her go. I have to let her go. I can't let her go. I can let her go. I don't... want to let her go.
Quotes to Explore
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When I went to drama school, I knew I was at least as talented as other students, but because I was a black man and I wasn't pretty, I knew I would have to work my butt off to be the best that I would be, and to be noticed.
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Acting was a slow-burn thing. I found it was something I really, really liked doing, but it wasn't until my third year at drama school that I actually thought, 'Oh, right, I'm trained for this now; I'd better see if I can do it.'
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It's a lot of work and I also feel like I've done it. I miss comedy. And I also think that, from purely a logistical standpoint, that the day-to-day schedule on a comedy allows you to have a life, much more of a life, than on a drama.
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The thing a drama school can't give you is instinct. It can sharpen instinct but that can't be taught, and you have to have intuition. It's an essential ingredient.
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My mom was always keen I stayed in school and got good grades, and she was always keen for me to do medicine. I used to go to drama classes when I was younger, and she would always take me. But when I got to an age when I decided it was what I wanted to do, when she accepted it, she had actually been the most supportive person ever.
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I definitely don't want to do drama. I'm not looking to branch out into that world.
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I did a drama degree, went to secretarial college, then got a job with a theatre company in Birmingham. It's been a slow burn, which doesn't seem to have gone out.
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I've done loads of things people have never seen - dramas on BBC4 and plays upstairs at the Royal Court and the Bush - and because I didn't go to drama school, they gave me an education.
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I think I've played a lesbian about five times. The first one was with Helen Baxendale in a drama called 'The Investigator,' about the conditions lesbians had to live under in the army in Britain, which was based on a true story.
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I never went to drama school, but I did learn a couple of things along the way.
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I bought the rights to this book, 'The Ploughmen,' by a Montana writer named Kim Zupan, and I've written the screenplay, and I really feel pretty strong about it. It's really hauntingly beautiful. It's got some suspense and great drama, but it's a real character thing.
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It's hard to do a reality show when there's so much crying and drama.
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I think there are some people who are just kind of born to create drama and then capitalise on it.
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I tested on a lot of TV shows and films after I finished drama school.
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When I was a kid, I used to make up all these characters. I love comedy a lot, and I don't get to do it often. Somewhere in the middle, I shifted into doing drama.
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We have been deformed by educational and religious institutions that treat us as members of an audience instead of actors in a drama, so we become adults who treat democracy as a spectator sport.
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I probably prefer comedy. Why? I'm not sure. I feel like the energy of a comedy is a better fit for me. I try to be a happy guy! It seems that most of my life has the energy more for a comedy than for drama. I'm grateful to do both, but I would have to lean towards the comedy side of acting.
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It's, like, your classic journey from a drama school. I went straight to the three-year acting degree, and I waitressed throughout that to support myself and for the first six months after I graduated. Then I started to get commercials here and there, and then I got a couple of roles in Australia and then a more regular role on a TV series.
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Dramas are incredibly compelling. I feel like 'Silver Linings Playbook' is a drama, but because it's funny, people market it as a comedy.
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We just happened to come along at time where there hadn't been a new young adult drama that also could appeal to adults as well in quite some time. We sort of found a little bit of a niche.
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I don't have a good British accent.
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The moment you sense someone is making something because they think people are gonna buy it or like it, it's just so phony! The public has a nose for phony like nobody else.
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It was humbling to play Mark Ashton. He was a political activist and a humanist, and there is incredible conviction in his vision. But when you're telling a political story, humour is crucial; otherwise, it can be in danger of becoming a bit preachy, and the audience can feel like they've got an agenda coming full steam at them.
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I'll let her go. I won't let her go. I have to let her go. I can't let her go. I can let her go. I don't... want to let her go.
