David Hudgins Quotes
When you're on a daytime drama you get one page, you better damn well know your character. You better know what she would do in every situation because it's a very, very fast paced business. You do ninety pages a day on a Soap Opera. It's insane. It's such a small world, the soaps. It's all contained in one little studio.
Quotes to Explore
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Neither science, nor the politics in power, nor the mass media, nor business, nor the law nor even the military are in a position to define or control risks rationally.
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Once you start a business, you have to grow it and grow with it - starting a business is not just for Christmas.
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Before 'Raman Raghav 2.0,' I played a criminal in 'Badlapur.' Though the character was innocent, he was not correctly interpreted by some sections of the audience.
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I'd like to do something where there's a strong female character and some action. I've done a few stunts in the past.
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When you are doing a long scene, you have dialogue and interaction to narrate the character. But making sense out of facial expression and reacting is difficult. Having said that, I think such challenges are good for learning.
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My books are character-driven. They're not driven by the story.
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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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My favorite roles usually have to do with the story, if it's a good story I usually enjoy doing the character.
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I wish the music business was a much easier thing, but you know what? Nothing easy is worth anything. So it is what it is. There comes a time when things can work out and everybody can be happy. And that's what it's all about in the end - everybody being happy and working it out.
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There was really a snobbery from people in film - they did not want people who had come from television. It was the poor relation of show business, and especially situation comedy.
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We allow no geniuses around our Studio.
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When we are no longer able to change a situation - we are challenged to change ourselves.
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We can find a great sector or business, but we're investing so early that unless there's this tenacious grit, determination, resourcefulness, ability to evolve, it won't work.
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Most of the names in my books have secondary meaning. Sometimes they foreshadow; sometimes they tell you about the character's origin or back story.
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A character on stage who can present no convincing argument or information as to his past experience, his present behaviour or his aspirations, nor give a comprehensive analysis of his motives, is as legitimate and as worthy of attention as one who, alarmingly, can do all these things.
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Hollywood constantly wants to label you and type you into a certain category, 'Oh he's a comedy guy,' or the weirdo character guy or the villain.
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I worked with fantastic actors, fantastic directors. People I would never otherwise have met. Was I limited? Yes. Did I use it as I could have? No. But I was always ambivalent about Hollywood and what I wanted. And ambivalence in our business is no good for success.
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I start out giving characters archetypes and parameters. Once I know the basics and have a rudimentary model, it's easier to carve unique curves and edges. It's quite easy to guess how a character is going to react if you know their background, and at a certain point, you realize you understand them personally.
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I've been in the studio experimenting on making a CD of my own. I'm trying out different producers, styles, sounds. With music, as opposed to acting, you are not playing a character. You are showing people who you are. I really want to have my spirit in it.
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The first time I remember women reacting to me was when we were filming Hud in Texas. Women were literally trying to climb through the transoms at the motel where I stayed. At first, it's flattering to the ego. At first. Then you realize that they're mixing me up with the roles I play - characters created by writers who have nothing to do with who I am.
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I think any girl who comes to Hollywood with sex symbol or bombshell hanging over her has a rough road.
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For the first time in history all the major countries in the world are pushing together to reach this goal... building something in space that is really for all humankind.
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My whole life, I wanted to write. What validates you as a writer is the adulation of fans... and I've got that... 'Animal Review' is pretty well-known.
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When you're on a daytime drama you get one page, you better damn well know your character. You better know what she would do in every situation because it's a very, very fast paced business. You do ninety pages a day on a Soap Opera. It's insane. It's such a small world, the soaps. It's all contained in one little studio.
