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Whether it's a guy living in an airport like Viktor Navorski in The Terminal, or Anvil in Toronto, or Alfred Hitchcock who's imprisoned by his success; there is a common thread to all these characters. I don't know why I'm particularly drawn to it. It's been pointed out to me, and I don't understand it myself.
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Clap along if you feel like a room without a roof. Clap along if you feel like happiness is the truth.
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To cultivate the intellect is therefore a religious duty; and when this truth is fairly recognized by men, the religion which teaches that the intellect should be distrusted and that it should be subservient to faith, will inevitably fall.
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I grew up doing theater when I was very young - always enjoyed it. Studied it in college, got my degree in it, and never really had the guts to do it professionally. But one summer, a friend of mine was with an extras agency and asked me if I wanted to be an extra with him in a movie, and I was, like, "Sure." At lunch, the writer came up to me and asked me to audition for a role. I got it, and it sort of snowballed from there.
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I'm a Self-made Woman in Every Sense of the Word
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It is decidedly not true that "nice guys finish last," as that highly original American baseball philosopher, Leo Durocher, was alleged to have said.
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Find your purpose by excavating and tying together the common threads of your happy memories by focusing on the emotions you felt.
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Every task is given equal importance - that way I can pick and choose my tasks based on the ebb and flow of my creative metabolism.
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I have no modesty. Modesty is a learned affectation. It's like decal stuck up on a person.
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My mentor Jon Simmons introduced me to the Stanislavski system, which is so heavy on back-story. So you write and write and write these back stories about a character and then you throw it away. So then on set, if it doesn't come, then you didn't do your work.
