Zachary Quinto Quotes
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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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That idea of comparison is what fans do. That's why fans exist. They believe in something and something connects to them, and they have passionate feelings and opinions about films.
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I just try to let myself really focus on the work that's ahead of me and what my job is and how I bring something to life.
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The play I did on Broadway a couple of seasons ago started out of town and it moved its way into New York because of the experience that we had out of town.
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It certainly woke me up to how vulnerable we all are. I think I was much more cavalier about it before I started working on the movie [Edward Snowden], and then the more I read the documents themselves and saw just how sweeping and indiscriminate the intrusions into our privacy have been, it made me more aware.
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I saw how vulnerable we all are and how exposed we all are and how this is an issue that affects everyone who owns a piece of technology. Which is certainly most people in this country.
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But when I found out that Jamey Rodemeyer had made an It Gets Better video only months before taking his own life, I felt indescribable despair.
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When I got out of school, it used to be that it was theater actors that ended up doing film and television, and you had to come from the theater to be taken seriously in that world.
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I found myself in a pattern of being attracted to people who were somehow unavailable, and what I realized was that I was protecting myself because I equate the idea of connection and love with trauma and death.
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It feels that way when I'm doing a play, absolutely. On film and television, it's more complicated than that I think, and when you start to add the business into the mix, and the industry into the mix, it doesn't maintain it's purity. That's something that's inevitable and unavoidable, but that's why I try to do plays as much as I possibly can.
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Maybe it's because it's connected to my childhood, or it's connected to the origins of what drove me creatively, but I feel like my life never makes more sense than when I'm in that process.
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There was no other concern; there was no other focus [in the Governor's School]. It was simply there to learn and grow and perform, and that was pretty amazing and informative. I'd say that was a big pivotal moment for me.
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I remember our conversations [with Zachary Quinto] always being frustrated that we weren't doing what we wanted to do, but also filled with the determination that we were going to overcome that.
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Heroes and Star Trek were 2006 and 2007, and I was just about to turn 30, and everything changed. I found myself on this amazing journey, which continues, but it's now at a natural transition point. I'm reevaluating and reexamining how and where I go from here.
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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.
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It's a very complicated landscape and I don't think there's one easy answer about it [Edard Snowden movie].
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My dad died when I was a kid, so I think it became a place for me to go where my mom knew that I was safe and taken care of and looked after.
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I had to learn how to modulate my performances and interpretations of these roles in auditions for the camera.
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They're mounting a campaign right now with the ACLU and a lot of different organizations advocating for [Edward Snoden] pardoning before [Barack] Obama leaves office. Wouldn't it be incredible to see something like that happen? I don't know what we can expect. I am interested in the different points and perspectives that people have.
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It was actually pretty cool to be in Pittsburgh for those four years. I moved into the dorms and had a pretty normal college experience, even though it was in my hometown. I really thrived there. I feel like it really suited me and served me well in terms of how I grew up there.
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Who's to say what would have happened if I had trusted my instincts and moved to New York like I thought I would.
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It just so happened that J.C.[Chandor] was a first-time feature director, and his script was exactly the kind of thing we were looking for.
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I would say auditioning was my real training ground. The technical aspects - like hitting marks and pacing yourself and preparing and dealing with the downtime - the first recurring role I had on 24 was probably the way I learned that stuff.
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I found it was remarkable. It was so evocative. I feel like it captured the urgency and the chaos, but through the silence of it, through the slowness of it. That's what I loved the most about Citizenfour.