Top 70 Quotes & Sayings by Gary Cole
Explore popular quotes and sayings by an American actor Gary Cole.
Last updated on December 21, 2024.
I miss everything about Chicago, except January and February.
You can go out in a good movie and look bad as well.
I will confess I did none of my own singing. I did all my own costume and makeup, though.
When you make a movie, it's up to so many things and so many people.
If someone comes up to me, 90 percent of the time it's about Office Space.
I gave up a long time ago trying to figure out what will happen in an acting career.
A lot of times evil - or, in the case of comedy, stupid - is more interesting than the hero.
When you're in a movie with Will Ferrell, well, it's time to at least sometimes throw the script away. And that character in 'Talladega Nights' I found a lot easier to kind of riff with because I related to it more, those kind of Southern, almost rednecky guys. That's a culture that I'm familiar with, that makes sense for me to spew.
There's a million different ways you can look at a moment.
It seems you can ask any friend, any relative, and they'll be able to tell you about someone they know with autism.
Christopher Walken could literally read a phone book and fill a theater, and it would be interesting to watch. I've often wanted to produce a show and ask him if he'd do that. All week long, he could read the As on Tuesday, the Bs on Wednesday; we'd see how long it would last.
I love going to concerts, so that whole environment is something that intrigues me anyway.
A lot of actors in my age bracket look at being still standing as pretty good.
Whatever's in front of you, you do the best you can and let it land where it lands, and then you walk away.
People get the wrong idea. They think because somebody's visible and works to a degree in some kind of consistent way, they just have a pile of choices. And that's not necessarily true. You can always choose not to audition and see what happens. Sometimes that's a benefit. But most things that I do, I meet on, especially films.
You need someone to tell you how to do things like hitting your marks, or driving a car so it looks right or getting out of a car so it doesn't take a million years of screen time.
I was a little nervous coming in mostly because my first scene was with Martin Sheen, who I'm a huge fan of.
Every actor thinks he's underused - unless he's a movie star.
People say you get identified with a role, and you get stereotyped, but I haven't found that to be the case.
In Washington, there are jobs that have official titles: chief of staff, campaign manager, director of communications. Then there are all these vague and murky headings over people who are just special consultants or advisers. We really don't know what their gig is.
Other than advances in technology and equipment, making a movie is the same as it was when I started, at least. I don't go back to the silent era.
Then, at some point, you get identified with certain things.
I'm a huge fan of sports movies.
I grew up with Apocalypse Now and Badlands, so I had a real awe thing going.
I was initially a leading man, but only on television.
There is no handbook about how a career is going to go.
As soon as you start figuring out what you're going to do, something will interrupt it.
I messed around in high school, but I pretty much put it away until I did a television show in San Francisco.
I am also a drummer of sorts. I've got an electronic set sitting in my bedroom.
I just don't eat too much. That's never been my problem.
No matter what era you're looking at - war affects things in so many different ways.
You never know, when you commit to something, what else could have been. I'm so bored with that concept anymore. 'If only I didn't do this, I could have done this.' It was in front of me, they asked me to do it, and it seemed like good timing.
'Fatal Vision' was basically the first thing I did on camera.
Yes, I've already done a couple of guest voices.
You always know when something works it's a result of everything firing on all cylinders.
There's only a handful of people who are just purely, inherently funny, and I'm not one of them. I need content and a situation. I don't just walk on the screen, and people go, 'Ha ha ha!' There are people like that, and they can do almost anything. It's the Christopher Walken Rule.
Being able to fantasize for a couple of days at being a rock singer surpassed most things I've done on stage.
I am a normal American.
In 1993, I was working at the Steppenwolf Theatre in Chicago.
I like the fact that this kind of family has been seen in a movie a million times: teenage kids, the family is a bit strained and they don't have enough money, but in the background the guy used to be a Gene Simmons type.
Karl Malden was quite a mentor. He taught me things he had learned from being in front of a camera so long.
I still like to listen to the people that I came of age on.
Even people who aren't engaged on the actual battlefield - the effects of war reach out like tentacles into families, into economies, into the changing geography, into politics. It shakes up everything.
'Office Space' I loved doing.
I think it had something to do with my love of music, especially rock music.
It's always appealed to me do to something that is whatever 'steady' means in this business. That's what I've kind of searched for, because, having a family, it's the best situation.
One of the most fun characters I played on a television series, which didn't last long... was a show called 'American Gothic' that Shaun Cassidy created. I would have loved to have done that show forever. That character was so funny yet demonic. It was really good writing and a really good idea. I loved all the people on the show.
I don't think anyone sets out to do something bad, it's just that it's very difficult.
For a stage actor to be there with the words and the creator of the words - it doesn't get much better than that.
You don't really have time to do other than what's written. It's very rigid. Shows have a certain rhythm that nobody wants disturbed. So a lot of that doesn't take place on television, at least the television I was doing at the time when I first started.
There is many different paths of a career. I bounce around and do a lot of different things. It suited me that hopefully I am prepared to do different kinds of styles, genres, or whatever you want to call it.
It was really executed well, from the art direction to the wardrobe to everyone else. And I have to say, two really exceptional directors who did three each. Roxann [Dawson] did the first three and Jeremy [Webb] did the second three. And I think they really were very meticulous in getting the right tone because it is both. It isn't dour and it isn't grim, but it's not a romp either. It's truthful and it has room for both of those things.
I think there is certainly luck and fate involved in any career of any kind. In show business, maybe it's even more true.
It's always best not to be thinking a hell of a lot while you're acting, because you want it to be as spontaneous as possible, not too intellectual. Just behaving and listening to other people who you're doing scenes with. I always like the latter when it looks easy, even though it may not be.
Good decisions don't make life easy, but they do make it easier.
I look at it scene-by-scene. Whether it's a historical character or not, whatever, on the page is one thing and delving into the history or somebody is one thing, but making something work for an audience in front of a camera is another exercise and you bring whatever authenticity you can to it.
Let’s focus on where you could end up, not where you were or are.
Improv is not something I had a lot of experience with, because for a long time, my only experience in front of a camera was all television, which is pretty rigid script-wise, except for the occasional scene where you toss in an ad-lib just to elongate something.
If you're onstage and you're improvising and nothing's happening, people are racing for the door. But the director can go shopping later and pick up pieces and moments and insert them.
But for me, you also have to be conscious of what is going to play. And that includes playing with. Sometimes it's just a vibe. It's what's going to make this scene work. And sometimes there may be something that restricts you that has to do with something that maybe is historically accurate. And then you have to weigh that decision and give up something for a scene to work.
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