A Quote by Adam West
You can't play Batman in a serious, square-jawed, straight-ahead way without giving the audience the sense that there's something behind that mask waiting to get out, that he's a little crazed; he's strange.
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First of all, what made him [Duke in "Zero Year"] captivating is this sense of somebody who wants to save the city regardless of whether Batman wants to or not, but has been inspired by Batman. He's always been - not combative with Batman or anything - but I think he has a sense that what Robin is and what heroism is in Gotham is something that's inspired by Batman and sort of separate from Batman.
To bring a large audience to a piece of serious music and make it accessible does not mean reducing it in any way. And I've learned that if something is good, even if it is a little difficult, people will get that it is good.
The intention behind our giving and receiving is the most important thing. When the act of giving is joyful, when it is unconditional and from the heart, then the energy behind the giving increases many times over. But if we give grudgingly, there is no energy behind that giving. If we feel we have lost something through the act of giving, then the gift is not truly given and will not cause increase.
While writing 'Bhavesh,' I pretty much chewed up every single graphic novel I could get my hands on, so all the way from the entire 'Batman' series, Frank Miller's 'Batman,' Ed Brubaker's 'Batman,' Scott Snyder's 'Batman,' all the way through 'Daredevil' to '100 Bullets,' through so many other graphic novels.
To take what there is in life and use it, without waiting forever in vain for the preconceived, to dig deep into the actual and get something out of that; this, doubtless, is the right way to live.
A silly comedy needs a straight guy, and that guy needs to be as straight as possible. The moment you start playing straight you're not straight anymore, you're bent straight, so it really requires the usual serious, straight-forward analysis and research, looking into it and finding the dramatic function, all of what you do until you feel you've collected enough points to safely and securely play the part.
I love my situation as a spectator. The actors are only a little bit ahead of the audience. The audience discovers the episode when it's screened, but we actors only discover the episode when we get the script, two weeks ahead of shooting. Until then, we know nothing of the evolution of our characters.
So the mask was just really easy, I've got to be honest. And it was great actually because it really allowed you to get into the character a little bit more maybe than without it, if that makes sense.
I was born very, very lazy and I don't always practice very long. but I must say, in my defense, that it is not so good, in a musical way, to overpractice. When you do, the music seems to come out of your pocket. If you play with a feeling of 'Oh, I know this,' you play without that little drop of fresh blood that is necessary – and the audience feels it.
Most human beings have enough sense to know that if they work in a city that has a serious smog problem, it's wise to either stay indoors or at least wear a mask that will filter out the poison. But cigarette smokers have their own little concentrated toxic smog pack that they don't avoid.
My father could look straight ahead but concentrate on something on the very edge of his vision, almost nearly behind him.
I think companies psych themselves out and say, 'Now that we're public, we've got to get all stuffy. We've got to be a certain way,' and the entrepreneurial spirit dies. What you got to keep alive is the intimacy, the energy, this crazed sense of purpose.
Giving up is not the answer. Neither is giving in. Stand your ground. There is a way of doing that without having to be combative. There is a way of hanging on to your true self, and demonstrating it, without resorting to aggression. But giving up and giving in is not the way. Simply and quietly claiming your right to be You is the way.
When a performer goes out on a stage, they may feel the audience is judging every aspect of them and their life. In fact, all that poor audience is doing is waiting to be entertained a little.
After rain comes sunshine; After darkness comes the glorious dawn. There is no sorrow without its alloy of joy; there is no joy without its admixture of sorrow. Behind the ugly terrible mask of misfortune lies the beautiful soothing countenance of prosperity. So, tear the mask!
I like having pairs of characters to play off each other. I love drawing Batman, but he's more fun with Robin. Batman charges ahead, Robin jumps off the walls. It's fun showing that contrast.
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