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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I enter my studio at 9 a.m. I have lunch here, I return right away to my work and I go out to dinner at 8 p.m. My daily tasks vary very much.
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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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There is no need to change my image. I like my image, and the audience likes it, too. I am very comfortable with the kind of roles I do, and as I am not doing the same character or playing myself. I explore my characters; I don't brood over my broody image.
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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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Without humor, I cannot go on and I doubt many of my readers would go on either. Humor is so important. I am here to have fun here with my work.
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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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What keeps me awake at night is just, Am I making the best use of the time that remains for me, to both be as good an example as I can in my own daily life, and as compelling as possible a voice for the ways in which we can all work together to tackle these issues.
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Fantasy is the only canvas large enough for me to paint on.
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Acting and modelling are good, but motherhood is what it's all about.
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I've come to recognize what I call my 'inside interests.' Telling stories. And helping people tell their stories is a sort of interpersonal gardening. My work at NBC News was to report the news, but in hindsight, I often tried to look for some insight to share that might spark a moment of recognition in a viewer.
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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.
