Zachary Quinto Quotes
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I've had some pretty stimulating conversations about where we are politically as a result of this movie [Snowden], but then there are a lot of questions just about that sensationalism of it.
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My desire to be valued is manifested in cultivating relationships with my friends and family.
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Every time I get on an airplane I have a routine. I cover the inside of my nostrils with anti-bacterial ointment. I'm popping Zicam like it's candy. And I drink, literally, from L.A. to New York, six bottles of water.
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I had just gotten Heroes, and I had just found out that I was going to be doing [Star] Trek, and I thought it was probably a good idea for me to create an infrastructure that would allow me to do my own work and put my stuff into the world.
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I try to be as fearless as possible. I don't always succeed, but I like to think I try.
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We [with Neal Dodson and Corey Moosa] were constantly looking for features and looking for ways to get involved with people who were making stuff.
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Leonard [Nimoy] was such a teacher for me. He was one of the most fully realized human beings I have ever known on every level - in his personal life with his personal relationships and his love for his wife and his evolution with his family. Then as an artist, as an actor, as a writer, as a poet, and as a photographer. He never stopped.
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It didn't really change my opinion about [Edward] Snowden all that much, but I definitely feel like as a culture, it gave us information that generated a responsibility to protect ourselves as much as we can and also a responsibility to hold our government accountable to honoring our constitutional rights.
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We [with Neal Dodson and Corey Moosa] wanted to draw people in with a dialogue - whether it's a creative process or a social issue or innovation of some kind; whether it was how we told the stories or what stories we told. We produced some online videos.
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Part of being a psychopath is an ability to dissociate from one reality and create another one, completely.
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I came back and decided that I wanted to go to college for acting and got my family on board. My mom, who was a single mom, was a little reticent, but I think after that summer [in the Governor's School], she saw a shift in me and realized that it was something I wanted more than just a hobby.
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We are witnessing an enormous shift of collective consciousness throughout the world. We are at the precipice of great transformation within our culture and government.
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I went to high school directly across the street from Carnegie Mellon, actually, and I knew people that were a couple of years older than me that went there. I was able to see shows in the drama department, and hang out there little bit, and it just felt like a natural progression. It was at the top of my list.
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The advancement of technology has probably guided us more than anything else in one direction or another. I don't know, it's hard to say. We're so much more connected, but we've never been more fractured as a culture.
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We [with Neal Dodson and Corey Moosa] spent a lot of time writing, for lack of a better word, this manifesto about what we wanted to do. We wanted to find work that was relevant socially and that didn't take audiences for granted.
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I think somewhere in the '90s, it started to shift, and you started to see a lot of film and television actors doing theater, and producers using the notoriety of the film and television actors to sell tickets.
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I love supporting emerging voices, and new writers and directors. I love engaging an audience in a way that doesn't have to involve me, personally, and yet still generates an experience for groups of people.
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We just have to have visibility. We have to have acknowledgement. We have to have accountability to how we treat one another.
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My passion is acting, and has always been. It's what brought me to this point of being able to diversify and do other things, and I hope it's something I'll continue to have a passion for.
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My return to the theater in New York was so specific. I didn't want it to be about leveraging my exposure or my fame, so the first show I did in New York was an ensemble piece at an Off-Broadway theater, and I wanted to make sure that it was just about the play and about the experience.
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I remember having to hit a mark and having no idea how to do it, real childlike stuff, because Carnegie Mellon didn't do an extensive job preparing us for film and television. It was very much a theater program. That was my first job. It was cool. I was glad it was.
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I listen to music a lot, if I need to get into a particular space. I do stretching and breathing, and take time to mostly be quiet and find the stillness. I think that's important.
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I think it's always good when you're able to, as an actor, allow your work to be some kind of a conduit for social discourse, and an examination of where we are, as a society.
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I actually met one of my business partners [Neal Dodson] at the Governor's School summer program, so we've known each other since we were 15 and 16 years old, and we both ended up at Carnegie Mellon together. He started working for a producer out of school after a few years, and then we started the company together.