A Quote by Adam Driver
The only thing I know that makes me feel comfortable is to know as much as I can. Not like what the shots are going to be, but knowing enough about my character that I can forget those things. And more specifically, my lines. I have to know my lines. I have to know something really well, so I can forget it when we're doing it. And there is comfort in knowing, "Okay, there's not another stone that I could have overturned."
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I realize how much I rely on the actors to really know the lines because I tend to forget what they are exactly, even though I've written them. I don't have them memorized. But when it's going well, there is that point where the actor starts to know more about the character than I do.
I find it difficult to work if I don't know the lines, you know, and not just knowing - they're second nature to me. Then, whatever happens in the performance when you're actually doing it, you're not going to go off. You're going to retain all of that. So I like to have my lines.
I like the idea of doing a little movie every week. When you do a movie, you don't know when it's going to come out. In a year, you forget about it. I forget stories that happened on set. I forget who I worked with. I forget my lines, my characters' names. This is so fresh. We make it, and it's on TV. It feels more like a living, breathing thing.
I auditioned for 'Moonlight' without knowing anything. I went in the room, and I didn't know the lines as well as I should have. I didn't know a thing about the script. I wasn't told anything. I heard it was a low-budget film, and my agent told me to do it. I was super-ignorant to it.
Could you not give me some sign, or tell me something about you that never changes, or some other way to know you, or thing to know you by?" — "No, Curdie: that would be to keep you from knowing me. You must know me in quite another way from that. It would not be the least use to you or me either if I were to make you know me in that way. It would be but to know the sign of me — not to know me myself.
I'm more interested in knowing my cues than my lines. If you know what your cues are, then you know what your reaction is going to be to them. Acting is about reacting, and if I can kind of purely react, that's easier for me.
I found myself desiring and knowing less and less, until I could say in utter astonishment: "I know nothing, I want nothing." Earlier I was sure of so many things, now I am sure of nothing. But I feel I have lost nothing by not knowing, because all my knowledge was false. My not knowing was in itself knowledge of the fact that all my knowledge is ignorance, that "I do not know" is the only true statement the mind can make....I do not claim to know what you do not. In fact, I know much less than you do.
This thing with everyone knowing you, it's weird, because people have this one-sided relationship where they look at your picture and feel they know you more than someone they actually know. I don't really know myself that well.
This thing with everyone knowing you it’s weird, because people have this one-sided relationship where they look at your picture and feel they know you more than someone they actually know. I don’t really know myself that well.
Dear Willem: I’ve been trying to forget about you and our day in Paris for nine months now, but as you can see, it’s not going all that well. I guess more than anything, I want to know, did you just leave? If you did, it’s okay. I mean it’s not, but if I can know the truth, I can get over it. And if you didn’t leave, I don’t know what to say. Except I’m sorry that I did. I don’t know what your response will be at getting this letter, like a ghost from your past. But no matter what happened, I hope you’re okay.
To know another human being in their essence, you don’t really need to know anything about them - their past, their history, their story. We confuse knowing about with a deeper knowing that is non-conceptual. Knowing about and knowing are totally different modalities. One is concerned with form, the other with the formless. One operates through thought, the other through stillness.
Practice your improv more than learn your lines. 'Cause there's no way you'll be able to learn all those lines in a short time. You have to realize what you know and what you don't know - and what you don't know, just come up with three alternate lines or improv that you can put in that spot.
It's fun to act, but for me, it's more fun to actually create the character and act it out knowing that I know everything about this character. That's more fun to me than just reading lines.
I love to prune my roses. That's the one thing I really feel I do pretty well. Other things I usually, because I travel so much, leave to my gardeners who know what I love. But I do love to prune them, because you forget everything else. It's like if you're a painter, you can forget everything else while you're doing it.
There's certain stock lines that, you know, like heckler lines, you know, like, where did you learn to whisper, a helicopter, you know? Nobody owns those. I mean, someone first wrote it but it's been so universally used that it's common and it's called stock.
The thing I wondered about so much as a young artist, particularly when things weren't going well and I was really struggling, was, "Will I know when to give up? Will I know when I've suffered enough rejection? Will I know when to get out?"
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