A Quote by Aldis Hodge

You're living with these characters for years and years, you need to have a lock on who they are as people, what they like, what they don't like, what they experience, and what they go through.
I'm living in a world that was created a hundred years ago with vaudeville and people traveling around and medicine shows and things and making live music on stage and I'm still doing that. I like it that way. I like to present something to people that's had 40 years of being honed and perfected. It's something that you're not going to find with an artist who's been around for two or three years, or even ten years.
It's not what you go through, but how that experience affects you. For some people, it could be a near car crash that changes your life. For other people, it could take five years of going to prison for them to realize they need change in their life. So it's not really the experience but more how the experience affects you.
When interviewers ask me who I'm sleeping with or if I don't like such-and-such or what is my sexuality, that's not beneficial to the world. They need to ask me about stuff that may help readers, like how my father abused my mother for many years. A lot of kids go through that and need to know what they should do.
A lot of people think teenagers haven't gone through anything in their lives - they're not even 20 years old yet. But a twenty-something can go through the same type of experience or heartbreak that a 50-year-old can go through, so why does age matter?
Usually I like playing other people. I like finding myself through other characters. But when you do cabaret, you are yourself. I think it's the most fun, and I tell you, if somebody had told me that, I would have done it fifteen years earlier than I did.
If you go to a movie and it's a great experience, the experience at the end of it is always like this sadness that it's over, that your time with these characters is finished. There's almost like an achy feeling that I have when I go to a movie that I love and it ends.
During the years I was still playing, I would go to Puerto Rico in the winter and manage. When the day came, I had the experience without having to go to the minor leagues for four or five years and then wait for an opportunity. Still, there's a double standard. Some whites, like Pete Rose, Joe Torre and Ted Williams, never had to go to the minors.
Yes, I did lock myself in my room for about two years and write some songs and things like that. But I don't feel like I missed out on a whole lot.
I think everybody came into it with the understanding that they would go through an experience that is literally not by the book, that is not executing the script and then going home, but living and breathing these characters and being in the moment with each other, and improvising and creating a lot of present-tense intensity between characters.
The earth's history over the past several million years is that for every 100,000 years, we go through a dramatic climatic cycle where we get 90,000 years of ice age and 10,000 years of a warm period. I think people today just have the expectation that we deserve a perfectly benign climate forever.
I had the interesting experience of having lived and worked for six years in China with Procter & Gamble, and that just changes, I think, your whole perspective in living overseas and living in a country like China.
I was thinking about that. I was thinking, this is like our Boyhood; this is like our getting together over 12 years to make - this our Apehood! I mean, this is it! For me, the relationships, all of those things, over such a long period of time now with actors, but also seeing the characters grow, develop, and change, and go through different situations.
There's a sense of trajectories that are extraordinary about a life like this. You can reconnect with people and go back to playing with them after years and years of not even knowing if they're alive.
I think that the whole experience of living, breathing, thinking, and being lost in wonderment is, for me, that of being an artist. And the idea of identifying as someone who is just living and existing and making objects or paintings-somehow I moved away from that years and years ago.
I had 11 years of managerial experience and four years of coaching before I managed a big-league team. To me, it was important, because I learned a lot through trial and error. And it's tough to have to go through trial and error when you're a big-league manager.
A lot of people like me, who've been around for years and years and years, only really lose it in their forties and fifties.
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