Arthur Penn Quotes
I believe that a large part of the training in the regional theaters is in imitation of the British style of acting. The British orientation is textual; they start from the language and work toward the character.
Quotes to Explore
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To be honest, I think for part of my late teens my character didn't really develop very much. I was in a state of cold storage.
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What's great about stand-up is that you can say whatever you want and go around the country, and sometimes the world, and work on it and see how people react. You don't need Standards & Practices or notes from lawyers or producers to tell you what's funny.
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But in action, one defies one's character.
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I think I don't sing as hard as I used to sing. I used to kind of hit the accelerator a lot back in my youth, but now it's just being able to control it, and not work it so hard and use more of an emotional or sub textual kind of approach to singing.
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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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Museums are for dead artists. I'd never show my work in the Tate. You'd never get me in that place.
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I've been working for many years and I think I've managed to work with some of the best people in the business, which has been rewarding and an apprenticeship.
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I strongly believe in political activity that has to do with choices - and not consensus that sometimes covers problems and doesn't resolve them.
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And I think maybe all women, if they just had a chance, would be romantic and believe in love and not sex. And men believe in sex and not love.
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Right now I am trying to be in a place of calm, a place where I can chill out and then handle the chaos of life better. You don't just get it overnight; you have to work at it. It's a daily struggle.
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The reason that I'm here at all is because of my relationship with my family and their encouragement of me to be a musician and to work hard. As long as I stay there in that space, I can do anything. That's my truth.
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I've never seen hard work fail.
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Psychology doesn't like to talk about evil. It likes to talk about bad childhoods. But I very much believe that some people are evil and motivation is not necessary for evil.
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On the subject of religious belief, we relax standards of reasonableness and evidence that we rely on in every other area of our lives. We relax so totally that people believe the most ludicrous propositions, and are willing to organize their lives around them.
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I still believe the Lewinsky investigation was way off from the focus of what Whitewater was, which turned out to be nothing at the end of the process. And I think that there were people who were determined as political opponents to not allow his presidency to succeed.
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I have no interest in making a work that doesn't elicit a feeling.
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Man's respect for the imponderables varies according to his mental constitution and environment. Through certain modes of thought and training, it can be elevated tremendously, yet there is always a limit.
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I don't think my background in Zambia has really affected my lens because my classical training has been Western-style. But it's fantastically fortuitous to have been born African because I don't feel I have a vested interest to the U.S. or China or wherever.
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If one less kid can grow up without hiding who they are along the way or having to believe that who they love is something that will make them lonely, then everything I went through will be worth it.
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War is society's dirty work, usually done by kids cleaning up failures perpetrated by adults.
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I have no aspiration whatsoever to be the next great leading man.
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Everyone assumes we're always going to have a cocktail and a cigarette in hand. Fans expect us all to be dressed up all the time. They always say to me, 'You look so young. You don't seem as tall!'
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The car is a character in the piece - I've never liked the car, I submitted to it's objectionable popularity.
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I believe that a large part of the training in the regional theaters is in imitation of the British style of acting. The British orientation is textual; they start from the language and work toward the character.
