A Quote by Aaron Tveit

Especially like right now, I'm not shooting a show so you get to act. You get to do that stuff, kind of treat everyone as 'All right, throw the paint against the wall and see what I can do with this and what people say.' I think it's a great mental workout because you have to ready something, learn something fast. It's good to stay on your toes and keep sharp if you're auditioning.
It's important to keep auditioning. If you're auditioning for something, you're auditioning for a role that people can't see you in and you need to convince them that you're the right person.
You know just because the majority thinks something is right, doesn't make it right. So, that is up to us, the people that see the wrong, that see the injustice, that stay educated, stay informed, stay involved. And there's an old phrase 'the squeaky wheel, gets the oil.' Right now, our wheels aren't very squeaky; the other side, they're the ones making all the racket...We just have to get up, stand up, speak out, and don't be silent.
Hey, think fast!' I just looked at Fave as he chucked the basketball at me with possibly the worst overhand throw I'd ever seen. It landed to my far right, then bounced past me, banging against my dad's truck. 'Do you have a vision problem of something?' I asked him. 'Just keeping you on your toes,' he replied
I don't understand the feeling of, the way people speak of writing as though it were, like, some kind of djinn to be summoned or like it's the Loch Ness monster or seeing a shooting star. It's a physical act. It is a thing you do with your muscles and your body and your willpower. Watch, I'll show you: get a piece of paper. Get a pencil. Put the pencil on the paper and write the word 'something.'
I get bored real easy. I'm so used to L.A. and the pace that when I go home now I start thinking, 'Something's not right, something's not feelin' right.' I just gotta do what I gotta do in Oklahoma and get back to the fast-paced city.
Television is fast and loose. You have two or three takes to get your part right, and if you have a problem, well, by the time you figure it out, everyone's moved on to the next scene. It's good training, keeps you on your toes.
People ask me, How would you do as a contestant on the show? And I tell them I would do fairly well among senior citizens, but against a good thirty-year-old I would have trouble because I cannot recall information as quickly as I used to. You used to say something and I would go, boom, right away, very sharp. Now it's like, Oh, yes, but wait a minute, uh, uh.
People think you can get out your canvas and paint any time you have a free moment. You can't. Commercial art and painting are entirely different. Painting takes a different mental approach. You have to get the right attitude, the right mood.
I don't think there is anybody who's watching television right now who wants to see something because it looks good rather than feel something because it feels right or familiar or new or whatever.
Whatever you do, stay focused. Because any stuff is not going to last forever. Once you get a show at something, you gotta roll with it. You can't sit on your ass. You better keep working. You better stay motivated.
The current state of music journalism is not bad, but it's not great at all. Some of the hip-hop stuff people get into is exciting, because there's a passion and there's something to explain to a more mainstream audience, so you get these passionate writers who want to express their love for rap and hip-hop, which is cool. But there are too many magazines, and the access has been diminished, so the quality of profiles has gone way down. Internet stuff can be really good, though. I like the dialogue between fans on the Internet. I think that's the best rock writing that's going on right now.
You do stuff that gets a reaction and you think 'that's a winner' and then it never sees the light of day. But the thing with improvisation is that 90% of what you come up with won't be used and for good reason. But you keep going for the occasional gem that you might come up with. You do a scene and a lot of the time. We wouldn't cut. So, you come up with something that might be funny and then you go, 'alright, what else'? So, you kind of throw stuff against the wall and see what happens. But you've got to be prepared to make a fool of yourself.
On one hand, I kind of feel like I have unlimited options right now, and obviously that's not technically true, but when you're at this place where you're just kind of dreaming up stuff, your imagination is your limit. That's where I'm at, which is great, but ultimately I think you have to make these decisions to close off some options to yourself. I think things only get done when you say, "This is the one thing I'm doing," and you kind of kill the other ones in the meantime. So I haven't done that yet, I've got to figure that out.
I think people get intimidated, and they think results should happen right away. Like I said earlier, the body can only change so fast, and so when you're doing it right you just have to keep at it and keep up with a balanced program.
It's like everybody is shooting something, and everybody's a filmmaker; everybody can shoot a cat video and post it. So the big thing now is - for people that have talent and have something to say, and are creative, and are capable of making something good - is how do they get attention to it?
I'll tell you one of the great activities is skateboarding. To learn to do a skateboard trick, how many times do you gotta get something wrong til you get it right? ...And you hurt yourself, and you learn to do that trick, now you got a life lesson. Every time I see those skateboard kids, I think 'those kids'll be alright.'
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