A Quote by Brendan Gleeson
You work for it. You don't have to massage it, so that it fits into the way it has to be. He's just too vigorous a writer and the dialogue is too sparking to do anything other than inhabit it and give it as much truth as you can. You just try to make it part of your DNA. That's what the challenge is, really.
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I've read a lot of fiction from writers just starting out, and the dialogue is a little bit forced, or it's almost too teenager-y, or too slang-y or putting too much technology or trends in there. I try to stay pretty trend-neutral. I try not to mention too many current bands or current TV shows.
Sometimes you just have to be brave. You have to be strong. Sometimes you just can’t give in to weak thoughts. You have to beat down those devils that get inside your head and try to make you panic. You struggle along, putting one foot a little bit ahead of the other, hoping that when you go backwards it won’t be too far backwards, so that when you start going forwards again you won’t have too much to catch up
If the music in a groove fits with what you're playing, then play it; if not, then you can play it backwards. If that doesn't work, you try it at a different speed. If it really doesn't work you just break it. The whole ritual to put a record on a turntable just to listen to it, I don't do that too often.
Closeness can lead to emotions other than love. It's the ones who have been too intimate with you, lived in too close quarters, seen too much of your pain or envy or, perhaps more than anything, your shame, who, at the crucial moment, can be too easy to cut out, to exile, to expel, to kill off.
Being able to just stick to our instincts and honor the [Hunger Games] books and find a way to stay the course of trying to make the best possible decisions that you would make creatively on any movie, without having your head turned too much by all of the interest, has been a great challenge. It's the best challenge you could ask for, but that was a big challenge.
As recently as the '70s, people were forced to see information that they didn't agree with in newspapers and the like. Now there is so much information you really can build your own walled garden that just has the stuff that reinforces your view. I think it applies to all of us. People are really going into these separate camps, and that's the big social challenge in this age of too much information. How do we crack that and create a common dialogue?
There's a price you pay for drinking too much, for eating too much sugar, smoking too much marijuana, using too much cocaine, or even drinking too much water. All those things can mess you up, especially, drinking too much L.A. water ... or Love Canal for that matter. But, if people had a better idea of what moderation is really all about, then some of these problems would ... If you use too much of something, your body's just gonna go the "Huh? ... Duh!"
There are certain writers I can't read when I'm trying to write because their voices are so distinct. Cormac McCarthy, he's the most different writer from anything I've ever written, but there's something about those really spare sentences that is just tough - it would be too much of an influence. Grace Paley is my favorite writer. Her stuff is so voice-driven, when I read her a lot I want to make my writing more voice-y and dialogue-heavy. I love a lot of stuff in translation.
I've put up with too much, too long, and now I'm just too intelligent, too powerful, too beautiful, too sure of who I am finally to deserve anything less.
I really don't (stay calm) all the time. I just try to. Part of not just racing but in life, I try not to let the highs be too high and the lows be too low. I try to stay somewhere right in the middle. In racing it's not always easy to do. You can get too excited or overconfident when things are going good and it's easy to get too far in the ditch when things are going bad.
I haven't really lost faith in my work - other than for quite short periods when the work is harder than usual - but I have hit points where I want to quit because cartooning is just too hard, too demanding an art form. Basically, there's nothing to be done about that but to keep going (if you're in the middle of something), or stop for a while and do other things while you wait for your motivation to return.
The way I work, and the material we work with, I think if you analyze too much and have too many specific ideas, it just becomes a little bit too superficial, and then performances might become too self-conscious and project relatively narrow things.
We as a people, as a state, and as a community, have too much promise, too much potential, and too much at stake to go any other way than forward. We are too strong in our hearts, too innovative in our minds, and too firm in our beliefs to retreat from our goals.
I just love a challenge, and always have, and will do anything to make it interesting. I'll try anything, really, as long as it's a challenge and you can have some fun doing it.
All you have to do is wait,” I explained. “Sit tight and wait for the right moment. Not try to change anything by force, just watch the drift of things. Make an effort to cast a fair eye on everything. If you do that, you just naturally know what to do. But everyone’s always too busy. They’re too talented, their schedules are too full. They’re too interested in themselves to think about what’s fair.
As actors, we try to just do the character justice and try to make the writer's intentions come to life. If you do that to the best of your ability, that's really all you can do. All that other stuff, like a warm reception from fans and viewers, is just icing.
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