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What's lovely about what I do for a living is the vast chasm of variety that constantly just comes at you from all angles.
You realise fame is something that if you court it too much or if you indulge in it too much, it will have a negative effect ultimately on your mental health and self esteem, because fame is ultimately about achieving positive self esteem through external factors, and that's a losing game, I would say.
I think a lot of people, when they start to become famous, they don't necessarily have the mental equipment to deal with it yet, so they try to keep it at arm's length and try to avoid it, which is fine for a while, but you can't keep pursuing a career in acting and that remain your attitude towards fame and recognition.
One thing that I'm continually reminded of is just to always find something that will challenge you in a new way, a very new way, and that's not the easiest of roads, but it's the most exciting.
Part of progressing in acting is turning down work, and that's hard; it's very, very hard to do. And I think you have to do that so as not to undermine your own sense of value.
You can almost liken 'Bad Samaritan' to 'Funny Games' because it's that theme of horror just down the street in your neighborhood.
When you work in a creative environment, people get protective about their ideas. Sometimes it's justified; sometimes it's about ego.
Acting is an incredibly gratifying, creative experience when you're doing it. But in the off-season, you want to scratch that itch, and writing has become that to me. It's a really pure form of creativity. It's good for my mental health in the same way reading books is good for me. It makes the day brighter.
There are actors who do various different shades of a similar character, which is fine. But I prefer the Cillian Murphy school of doing something that takes you so far outside yourself that it's an incredible challenge and adventure.
One can see that a canvas is six feet by eight feet, say, quite accurately. But you can spend two minutes and think it's five, or thirty seconds and it's just a different bed for activities there.
If you don't have trouble paying the rent, you have trouble doing something else; one needs just a certain amount of trouble.
I think maybe chance works better in a situation like music because music exists over a period of time, and you don't maintain constantly the you can't refer back from one area to another area.
And also the new excitement and variety of ways that the abstract expressionists were applying paint. You could put it on as though it were colored air and it would be painting.
And all of this, all these physical aspects of painting at that time excited me very much. You could do a picture in just black and white. I mean all the things, whether you're soliciting permission or not, do give you permission.
A newspaper that you're not reading can be used for anything; and the same people didn't think it was immoral to wrap their garbage in newspaper.
You have to have the time to feel sorry for yourself in order to be a good abstract expressionist.
Anything you do will be an abuse of somebody else's aesthetics. I think you're born an artist or not. I couldn't have learned it. And I hope I never do because knowing more only encourages your limitations.
People ask me, 'Don't you ever run out of ideas?' Well, on the first place, I don't use ideas. Every time I have an idea, it's too limiting and usually turns out to be a disappointment. But I haven't run out of curiosity.
Golf has become so manicured, so perfect. The greens, the fairways. I don't like golf carts. I like walking. Some clubs won't let you in unless you have a caddy and a cart.
Sport is a wonderful metaphor for life. Of all the sports that I played - skiing, baseball, fishing - there is no greater example than golf, because you're playing against yourself and nature.
You can't completely control the sport - Tiger Woods comes close. The test is against yourself and nature's own way. I find golf a particularly good metaphor for this story.
As an actor and as a person you come together with being in familiar territory although that has not been my whole life. That's been a part of it. I think a lot of people associate me with the west because of Sundance.
I am a cynical optimist. Big opening weekends are like cotton candy. The films you will remember over time are the films that stick in the consciousness of the audience in a good way.
Your most precious possession is not your financial assets. Your most precious possession is the people you have working there, and what they carry around in their heads, and their ability to work together.
You might say those who can't repay their student debts shouldn't have borrowed in the first place. But they had no way of knowing just how bad the jobs market would become.
Official boundaries are often hard to see. If you head north on Woodward Avenue, away from downtown Detroit, you wouldn't know exactly when you left the city and crossed over into Oakland County - except for a small sign that tells you.
During a movie, you lose all ability to focus on your own interests. Your life is in service. After that you just want to disappear, switch off the phone, and sleep and watch movies for a month.
Great broadcasting requires all of us, those who are in positions of power and especially those who are in positions to employ people, to remember you need to look towards the greatest conceivable palate to create greatness.
I think with 'Strictly,' people don't want you to do badly. They're willing you to do well.
I find it amusing when you look at plastic surgeons because they don't seem to have had anything done.
There's certainly more chance of me winning 'Strictly' than having an affair with my dance partner, but you know, who knows?
My impression was, he's walking as though he's made of glass, and if you should touch him he would just shatter apart. I don't know if it was an act or what, but it sure was effective.
The challenge is what was making it exciting. You don't want to do anything that's too easy or that you know that you can pull off, otherwise it's really not worth doing.
Frank is such a great visual storyteller, that if you study his artwork you see that his Sin City books are already the best movies never seen on the big screen.
What I love about new technology is that it really pushes the art. It really pushes it in a way that you can't imagine until you come up with the idea. It's idea-based. You can do anything.
Don't give me any money, don't give me any people, but give freedom, and I'll give you a movie that looks gigantic.
When you make an exploitation film, you always want to have a real issue. That's how they were always done.
You create superheroes to take care of problems that can't really be solved another way.
I was from such a large family that when I first met my wife, I told her: 'You can go work outside of the house and I'll stay home and continue making my cartoon strips. Maybe I'll make some commercials nearby, you know I'll do anything locally, but I would love to just stay at home and raise the kids like I did when I was growing up.'
If I'm excited about it, I'm pretty sure an audience is going to enjoy it. If I'm bored with an idea, you can bet they're going to be asleep. So I try to only do things that I'm fairly excited about.
When you go off in the world and make your life, and you come back to your home town, and you find your old high-school friends driving in the same circles, doing the same things, that's what Hollywood's like. It's a little block, little town. It doesn't really grow or change.
If you create a good story that has a lot of story value... I think audiences like that. It's why they stick with the same TV show over and over.
Low budgets force you to be more creative. Sometimes, with too much money, time and equipment, you can over-think. My way, you can use your gut instinct.
If you do a film with a studio, agents step in, they start saying, 'My actor has to get this amount of money', and it becomes about deals.
What could make my life better? Oh, if I could only find that magic bottle that lets you never have to sleep. I have so much stuff I wanna do, but... That six or seven hours you have to be in bed with your eyes closed. What a waste!
When you put on the glasses in a 3-D movie they just kind of sit there and you forget about them.
Don't look at all at what other people are doing. Think of what you're doing as completely fresh because if you imitate you're dead.
Your mind just goes to the craziest idea to lure people into the theater, and then you write your script around those elements.
I know intuitively when the work is right, no training can teach you this, it is simply a matter of feeling.
As an actor, you're never supposed to complain about being too busy because it can go the other way real fast.
When we shot the pilot for 'Voyager,' Armin Shimmerman, who played Quark on 'Deep Space Nine,' was very gracious and outgoing about preparing us for these personal appearances. Still, nothing really can prepare you for the first time when you walk out on stage and 2,000 people in a room stand up and applaud simply because you're there.
If you're looking at my other major science fiction roles - the Doctor on 'Star Trek' and certainly Woolsey on 'Stargate' - I often play characters that might be good theorists and good thinkers, but you wouldn't call either of them very macho characters.
I think there's something inherently interesting in the Monday morning quarterback: the guy who, you know, sits at one end of the briefing room and tells everyone what they should've done and how they've screwed up.
When an actor gets a role, especially in series television where he really is the part, the audience never thinks of another actor playing that role. If they accept you in the role, then they can't separate the actor from the character.
Nobody wants to play - I've talked to Brent Spiner about this. You don't want to play a character indefinitely who's not supposed to age.
'Star Trek' is still my signature role because once you do a 'Star Trek' series, it's never really out of the marketplace.
It was hard to make a living as an actor in New York if you did not do soap operas or commercials.
You play a hologram on 'Star Trek,' and you have to spew line after line. I spoke in paragraphs on 'Star Trek.'
Sometimes the ideas that mean the most to you will feel true long before you can quite formulate them or justify them.
'Write' is almost the wrong verb for what I do. I think 'compose' is more accurate because you're trying to make the sounds in your mind and in your voice. So I compose while I'm driving or in the shower.
For a lot of people, well-meaning teaching has made poetry seem arcane, difficult, a kind of brown-knotting medicine that might be good for you but doesn't taste so good. So I tried to make a collection of poetry that would be fun. And that would bring out poetry as an art, rather than the challenge to say smart things.
All questions of process require an answer that begins with a very important sentence, and the sentence is: 'Everybody is different.' Whatever way of working you name - methodical, haphazard, gets up early in the morning, sleeps all day, works at night, revises immensely, never revises at all - someone has made great work with that way.
If what you want to do is make good art, decide what's good and try to imitate it.
The last thing a young artist should do in poetry or any other field is think about what's in style, what's current, what are the trends. Think instead of what you like to read, what do you admire, what you like to listen to in music. What do you like to look at in architecture? Try to make a poem that has some of those qualities.
I delight sometimes in saying to - as when I'm a teacher, I love saying, 'This is really important, so don't write it down.' To me, what you retain is a very important filter.
The best argument for teaching poetry is to put a three-year-old or a four-year-old and read Dr. Seuss, or Robert Louis Stevenson, and to feel how the child and you are engaging in something that's really basic to the animal, which is passing on in these rhythmic ways, something that came from somewhere.
If you want to make films, you'll watch Kurosawa. If you want to play a violin, you listen to Seghetti. Same with somebody who has the ambition to play in the NBA. I watch a basketball game; I enjoy it. Somebody who really wants to learn to play is studying whatever is most magnificent that's going on out there.
When I was a teenager, just about the only thing I could do right was play music. In my graduating class, I was certainly not voted 'Most Literary Boy.' I can assure you I was not voted 'Mostly Likely to Succeed.' I was voted 'Most Musical Boy.' And the music led to the poetry.
Jazz and poetry both involve a structure that may be familiar and to some extent predictable. And then, you try to create as much surprise and spontaneity and feeling and variation while respecting that structure.
To me, writing is a matter of voice. I think like that. The expression I sometimes use to myself is 'actual song.' That what I do is somewhere on the line between speaking to you as I am now and actual song. And the things I love when I say one of those poems to myself - it's a little bit like singing, it's a little bit like speaking.
I have found that a smile and a stick will carry you through all right, and in ninety-nine cases out of a hundred it is the smile that does the trick.
There's not a human being alive I won't talk to. There's a quite simple rule. If you like somebody more than you dislike them you can have a relationship. Once you accept you like 75 per cent but 25 per cent you find irritating for this or that reason, you just have to ignore that 25 per cent.
I think monogamy is a little unnatural, if I'm totally honest. You change. Things alter. It's the exception rather than the rule and I think it's exceptional to cope with it and manage it. It's hard work.
The heartthrob thing came in the late 1960s, and to be honest, it was fun! But I was very aware that well-known actors are two people - who you are and who other people think you are. Life only gets tricky if you confuse the two.
When you get back from a trip, make a note of what you didn't wear. This will avoid packing it unnecessarily next time.
No matter what your career aspirations are, you should begin by thinking carefully about why you are engaging in any activity and what you can expect to get out of it.
The most important thing is to talk to people that have jobs that you might like and to see what they say the job involves.
If you want an active schedule, you have to husband your time so you can act on the things that are important.
You have various institutions like law firms and accounting firms which bill by the hour. I'm really against that. You have an incentive to go slowly, be there as long as possible, to over-research things and over-staff.
You need to agree with your boss about what you need to get done that week, what are the metrics of success. Sometimes you need more hours, sometimes you need fewer hours.
Everyone knows that exercise can improve your health. Exercise is a key part of managing your weight and maintaining healthy hearts, lungs, and other bodily systems. But did you know that exercise can make you more productive? The latest research shows that a regular exercise routine can make you happier, smarter, and more energetic.
I've seen people spend days, if not months, researching and gathering data, but only at the end did they finally figure out what they were really looking for; then they have to redo a lot of stuff. If after a day or so you force yourself to put together your tentative conclusions, then you'll have guidance for the rest of your research.
The night before, go over your schedule and see what you're going to do and what the purpose of what you're doing is. I advocate having a two-column schedule. On the left, put down all your appointments and phone calls. On the right, put down what the purpose is.
Routinize the routine. The things that aren't important to you, whether it's breakfast or your commute, try to do them with the least energy possible so that leaves you with more energy for other things.
There are people who literally cannot start a project until the deadline is four hours away, even if it's a big one. And those people have a serious problem. My recommendation is set up mini-deadlines. You might say, 'Okay, here's my deadline after three days for this and there's another deadline for that and then a third deadline.'
It's 5 P.M. at the office. Working fast, you've finished your tasks for the day and want to go home. But none of your colleagues have left yet, so you stay another hour or two, surfing the Web and reading your e-mails again, so you don't come off as a slacker. It's an unfortunate reality that efficiency often goes unrewarded in the workplace.
I am a great believer in the OHIO principle: Only handle it once. When you read an e-mail, decide whether or not to reply to it, and, if you need to reply, do so right then and there. I have found that about 80 percent of all e-mails, whether internal or external, do not require a response.
The way you delegate is that first you have to hire people that you really have confidence in. You won't truly let those people feel a sense of autonomy if you don't have confidence in them.
The camera lens or the television camera is still just a proscenium arch. And as a great old character actor once said to me, wherever you're acting, you reach up and take hold of the proscenium arch, and you pull it down around your shoulders.
It was just like Howlin' Wolf. Once you arrive at the point that you understand it, the emotional factor is darker than some of the saddest blues stuff.
I think Blank Generation holds up pretty well. You listen to that with headphones and there's a lot going on there with the guitars- it's the product of a lot of fighting.
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