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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There are millions of Americans outside Washington who are tired of stale political arguments and are moving this country forward. They believe, and I believe, that here in America, our success should depend not on accident of birth, but the strength of our work ethic and the scope of our dreams.
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You can't get emotional about your work.
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What works for me is knowing the character in an emotional sense. I wish I was more logical but it doesn't work for me like that. I need quite a lot of time; it's why I always worry when I'm doing more than one thing at a time. I hope that some sort of magic will kick in.
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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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I believe that no matter what you do in life, if you learn the basics through theater, it will help you in everything else - problem solving, communication, discipline, all of that stuff.
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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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Sometimes I feel an obligation to be accessible as a personality, but for me the driving force since the beginning has always been good work, taking risks, trying new things. If the door opens, go through it. Always go forwards.
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Basically, a manager is a father figure to 20 or 25 blokes. It's about trying to get the best out of them and creating team spirit.
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The graveyards are full of indispensable men.
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The collective unconscious consists of the sum of the instincts and their correlates, the archetypes. Just as everybody possesses instincts, so he also possesses a stock of archetypal images.
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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.
