Top 184 Quotes & Sayings by Matt Bomer - Page 3

In the end, someone is depending on me to show up on their set looking a specific way, whether that's 40 pounds overweight or 40 pounds underweight - or looking like a stripper.

I tend toward more adult fare, and I would love to do a voice in an animated film or something the boys could go see, but at a certain point, I made peace with myself about it.

One of the things about the con artist lifestyle is that all the romance is sort of sloppy and fast and loose.

Working on TV can be quite insular.

'The Kids Are All Right' is amazing. The performances are insanely good. Julianne Moore is going to wreck you. This is the best I've ever seen her, and I've seen everything she's ever done. I like the story, and I think it's a great alternative to the big summer popcorn blockbusters.

When I was 27, I felt old. I didn't feel healthy. I just wasn't taking care of my body, and I had a body that wanted me to take care of it.

You have to remember you're an artist and get hungry.

When I was 8 years old, I asked my parents to get me head shots, and they were like, 'What are you talking about? Go outside and play!' I'm so glad they did.

I have more faith in Santa Claus now than I do an exec.

My parents knew if they kept me active, I'd stay out of trouble.

I had a normal childhood where I was able to cultivate my own creativity, and I don't think I would have been ready for this crazy business at 8 years old.

I sort of take cues from my grandparents.

I think anytime you can show different colors and portray something that you haven't had a chance to do is always really refreshing as an actor.

There was so much going on in 1936 with the height of the Great Depression and the Spanish Civil War and Germany on the move and all of those things. There was a tension in the air.

I see what kids in the business have to watch. It's tough to do.

I'm blessed to have a family, so it's not like I'm twiddling my thumbs. When I'm not working, that's where all my attention comes.

If you gave your best to what you were given, at the time, it's going to play out how it's going to play out.

In that Freak Show environment, I got to spend time with so many of the actors who were part of that world. I just had the best time ever.

I look at a pilot and go, "I see the landscape. I see the characters. I see the direction and the potential of the story." And I also go, "That didn't work. I could change that. Maybe that works. I don't know. We'll see." For me, I look at it, as an actor, as what can I improve upon? So, to have it out there and judged solely on its own merit is really a unique experience for me.

I see myself working, making a living and doing projects that I'm passionate about, regardless of the medium.

I like to sing and leave songs on voicemail. It comes from the heart.

I like not to know, unless it's something that I need to know, specifically, for how I color a performance.

I like characters with flaws, who have shadow.

Don't worry if people think you're good. Make this your experience. And find out what makes you unique as an artist. You don't get the opportunity to do that as much in the real world.

Human beings are good, they have shadow, every single one of us has redeeming qualities and every single one of us has qualities that people can hold against us. That’s what makes us human.

What we really have to do is stop the adjective before the job title — whether it's 'black actor,' a 'gay actor' or 'anything actor,' Everybody thinks that equality comes from identifying people, and that's not where equality comes from. Equality comes from treating everybody the same regardless of who they are. I hope the media and the press catches on to that because it's time to move out of 1992.

I like strong opinions - I'll take that any day over someone who agrees with everything.

The last thing I want to do is having someone get behind a Montgomery Clift biopic, and then just do the first script that came out. Sometimes it takes a long time for these things to gestate. And I'm only going to do it if it's the right story that's told for the right reason, and that's relevant to this day and age, as much as it pays homage to who this man was. Should that happen during the time when I'm still young enough to play him, perfect. And if not, hopefully someone else will get to play him because I do think it's an incredible story.

Having done television for almost 20 years now, a pilot is kind of like a rough draft. It's like bringing people into your ultrasound and hooking up to the monitor and going, "Isn't my baby beautiful?" "Yeah. I can only see the outline of it, but it looks like it might be."

I think Billy Ray has a lot of great stories up his sleeve. I've heard a lot of his plans for the show, should it go forward, and I think there's a lot in store for people, if it's given a chance.

I’ve been a con artist since I was 16 and trying to get my dad to buy me a car. I never succeeded, but I learnt a lot of tactics.

My parents raised me right, so I always open doors for people and try to have good manners.

If you don't like Superman, something's wrong with you!

I had just finished reading The Day of the Locust when this piece was brought to my attention, and I was like, "How do you create art in the system, the way it is?" Looking around the studio film landscape, there are all of these great superhero movies, which is fantastic, especially for my kids, but it's hard to find real art house films in the studio system, these days.

I've never cared about how successful or how big I was going to be. I just wanted to be part of a story that affected people, made them laugh or cry. To me, that was more important than having my face on some billboard.

For me, a lot of these actors are new. For me, I only worked with Finn Whittrock and Michael Chiklis. So a lot of these actors are people I've been a huge fan of for years and are bucket-list actors for me to get to work with. It's pretty surreal now getting to step into scenes with them.You all get to find your characters together.

It's better to be in love than watch it.

I at least felt the obligation to speak clearly [in 'The Last Tycoon']. This is pre-Brando and pre-James Dean. Nobody mumbled back then.

I’m a pretty chill person. I’m kind of a homebody and I like to just hang out with friends and have dinner. I’m not, you know - I’m definitely not Neal Caffrey in the sense that I’m not, you know, drinking a $500 bottle of wine at a nightclub. I’m just - I’m pretty chill.

I really saw Pat Brady, Kelsey Grammer's character's point of view that it's a business. It's show business. So, it was an incredible opportunity to work with really wonderful creatives and the script was fantastic. What was so interesting to me about the studio system was that a lot of the politics that were in play then are so really relevant to today.

I’m so thankful to have been born in the times that we live in. I felt a responsibility to Simon [Halls] and to our kids to be able to live with integrity and not have some strange split psychology of This is who my dad is at home, and this is who he is to the public. That trumped any type of professional repercussions that it could have had. And – not by my own volition or choice – I’ve been playing exclusively straight characters for the first 10 years of my career. Whatever happens from this point on says a lot more about the business and society than it does about me.

I'm a long time [Scott] Fitzgerald fan, as probably everyone in America is. And I've always been fascinated by that theme of, what is the price of the American dream and what parts of your soul do you walk away with? The conflict of art versus commerce was also very interesting to me.

Never forget your manners. They go a long way in both your business and personal life. If you look and act like you are making an effort, it will be appreciated.

When you are the avatar for the writer/director, a lot of times, I just trusted him. If he had a choice, even if it wasn't necessarily what was my first impulse, I was like, "Billy Ray has been living with this for two years before I even came on board, so I'm going with him."

Without a safe haven, one of the most authentic parts of who you are, who you love, felt invisible to the world.

The best experience for me at CMU was being on stage so much, getting that comfort ability and learning that technique you can use with any type of work because you’re comfortable with it and know your skill as an actor.

I took movement classes that I wore my double-breasted suits to. I worked on my elocution because people spoke differently then. I was really trying to toe the line. I think that if I had spoken exactly the way that people spoke back then, it probably would have alienated people.

It's so rare, especially as a younger actor, to find a role where it's not just one-dimensional and it's not just a stock leading man.

One of the many things I love about working with Ryan Murphy is that you're always thin-sliced in this business. You walk into a room and people want you to be how you look or how you're perceived or whatever it is in that 10 minutes that hey meet you. I think Ryan [Murphy] has an intuition that looks a little bit deeper and sees things that other people might not see in you - sometimes you might not even see in yourself - but that he knows are there and that he might want to get to grow and stretch with as an actor.

Anybody who is rude to anyone in the service industry is automatically out.

I very comprehensively studied Irving Thalberg and his biographies. He's who [Scott] Fitzgerald roughly modeled the character after. He worked for him, as a writer, when he was at MGM. And, of course, I revisited the novel and the politics of MGM and the studio system at the time and familiarized myself with the world. There was a great deal of physical and literary work that went into it.

I think your text [script] is everything; it's what informs you; it's what gives you the given circumstances. Then you take that and you add your own creativity and your own spin on things and you make it personal. That's what makes that character and that text unique to you, when you personalize it. I think that's where your job as an actor comes in.

I think every guy and girl would love to get to play Superman, at some point in their life.

If youre wearing suits and you want to create your own sense of style, get to the tailor.

When you really put your heart and soul into something, the temptation is to try to be in control of circumstances, however you can, and looking and seeing how people are responding.

To me, when you're at a hotel and your home environment is ultimately dictated by somebody else, I always find that a little bit oppressive and scary in a way.

My personal life is a source of incredible happiness for me, but it's personal and it's not for me to hock, or shop around to the highest bidder. Plus, it could never live up to the amazing mythology that everyone online has created for me, so I'll keep mum about it.

Billy [Ray] is a preternatural enthusiast. He would say things to me like, "Now, let me tell you about Episode 3." I'm a big superstitious, having done television for quite some time, and I would say, "Billy, I can't wait to hear about it, but let's just stay here for right now, see what happens, and enjoy this moment.

You can't please everybody. There's that old saying that there's no sure formula for success, but the only sure fire formula for failure is to try to please everyone. You're not going to do that.

Theres always a need for new superheroes. As society changes, the types of superheroes will probably change as well.