A Quote by Rhys Ifans
The strange thing is, if I was speaking to drama students about the thing that you should do if you're lucky enough to know or to meet the character that you're playing, I'd say, 'It's obvious: you quiz them diligently about their experience.'
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My thing about looking good is that it should be the character. If I'm playing a character who's concerned about his body - an athlete, say - I'll get in shape. If I'm playing a character who doesn't or wouldn't, I don't. I almost never get in shape for a movie, even though I know it would be a good career move.
Comedy and drama are different sides of the same coin. And the thing about comedy and drama is about likability. It's about character first. It's about story. And for me, it's about empathy, and I think the realer someone is, the further you can go either way with them.
In our time, we have become too interested in the artist and his or her character and experience as a way of understanding art. In my view, you should be able to read a book or see a film without knowing a single thing about conditions or circumstances or character of the artist, and experience the work to the full without such information. Sometimes I feel - speaking for myself - that people know much too much about me, and I wish people knew less and could just read these books and respond to them purely as words on a page.
As I've said many times, it's one thing to dream about something; it's another thing to experience it. It's one thing to think you're good enough; it's another thing to know you're good enough.
I think the most important thing about playing is to walk out with confidence, look the people right in the eye and say 'Here I am,' and go and do your thing. As soon as they know you're confident, they're confident. As long as you adjust to them you're not in trouble. You should eyeball them, find out what they want, and give it to them. They didn't pay to come out and look at the tapestries.
The strangest thing about strange things is that they're only strange when you hear about them or think about them later, but never when you're living them.
The worst thing about the internet, as far as Greg's bosses were concerned, was that it was now impossible to distinguish a roomful of people working diligently from a roomful of people taking the What-Kind-of-Dog-Am-I? online personality quiz
There are all sorts of theories and ideas about what constitutes a good opening line. It's tricky thing, and tough to talk about because I don't think conceptually while I work on a first draft -- I just write. To get scientific about it is a little like trying to catch moonbeams in a jar. But there's one thing I'm sure about. An opening line should invite the reader to begin the story. It should say: Listen. Come in here. You want to know about this.
The Jewish culture has a wonderful thing about education. It has a great thing about family; it has a great thing about unity, hard work, dedication. I would like to say the African-American community should emulate that.
If you're a person and care about other people - I don't think I have any sort of special understanding or anything, I think any feeling person would experience similar things if given the same opportunities to see the things I've been lucky enough to see and meet the people I've been lucky enough to meet.
I don't think colleges are safe spaces. It's one thing to have a fraternity house or a community center where students can go and talk about their shared experiences. But it's another thing to have safe spaces in the sense that the university's providing them with protection from what they have to experience and find ways of protesting and resisting.
But there's one thing I'm sure about. An opening line should invite the reader to begin the story. It should say: Listen. Come in here. You want to know about this.
It is immature and lazy to imagine we know everything there is to know about someone before we know that someone. We don't know their stories, their histories, their real live human feelings. We don't know their favorite movies and best memories and what makes them afraid. It is unfair to take one fact, one thing they've said or we heard they said, or one thing they wrote, or someone else's experience, or a group they identify with and make a character sketch. If people did that to us, the picture would be so woefully incomplete, we wouldn't even recognize our own description.
I was just burnt out. I didn't like the music business and I didn't like me. There's an element of falseness about the whole thing. Even things like doing an interview. It's not as though we just met in the pub and are having a chat - it's part of a process. If you do it all day, every day for years, you end up thinking: 'Who the hell am I?' I was lucky enough to make some money, enough to let me kick back. It was a great experience and it was nice to have a couple of No.1s but the best thing about it was that the money I made allowed me to have freedom and choice in my life.
Baseball is actually interesting, I don't find me to be that interesting. But I am realistic enough to understand it's not about me, it's about the fact that I'm speaking for the game and people care so deeply about the game that they're watching to make sure that you do the right thing. And I feel a real responsibility to try to do the right thing as a result.
What we know about the destination resort business is clearly established. But it's all about one thing, and one thing only. All of the razzmatazz and jazz we hear about facilities and everything else doesn't amount to a hill of beans. It's customer experience that determines the longevity and endurance of these enterprises.
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