You know, you can always pick the lit students," he continued, grinning. "Is that so? How?" "They're the ones who walk around wearing berets and that I-know-something-you-don't expression.
I don't like being told that's where you, you know, if you walk on set and somebody was "okay, you're here and you're going to walk over there on this line." And my reaction is always how do you know? How do you know that's what I'm going to do? How do any of us know?
In a world of fixed future, life is an infinite corridor of rooms, one room lit at each moment, the next room dark but prepared. We walk from room to room, look into the room that is lit, the present moment, then walk on. We do not know the rooms ahead, but we know we cannot change them. We are spectators of our lives.
At least we both know how shitty the world is. You wearing a beard as a mask to disguise it. I wearing my tired smile. I don't see how you do it. One hundred thousand university students marching with you. Toward A necessity which is not love but is a name.
You can always pick out stage actors at the Oscars: they know how to walk.
I think the audience doesn't know a movie's lit, but they feel it. Because you've walked in a forest many times, or in a park, so you know how it looks. When you start lighting, subconsciously you know there is something that is absolutely wrong.
I often suggest that my students ask themselves the simple question: Do I know how to live? Do I know how to eat? How much to sleep? How to take care of my body? How to relate to other people? ... Life is the real teacher, and the curriculum is all set up. The question is: are there any students?
I understand the opposite side of the camera. I have a profound respect for that. I have worked with people who, when you hit that mark, are doing 50 percent of your work for you. So, you know, it's a balance. When you walk into a mark and you're lit a certain way or something's happening so often you don't know what's behind you... And that's what's so strange about being a movie actor.
Wearing baggy clothes makes me look shorter. I just don't know anything about fashion. I know what I like wearing. I'm always accused that I wear too much black. I love wearing black.
We don't walk around wearing candy stuff all day or colorful stuff. It's like, I walk around wearing black.
I don't think anyone sits down and thinks, 'I know, I'll be a chick-lit writer.' You write the book that you want to write and then other people say, 'Oh, that's chick-lit.' You say, 'Okay.' But it's not like you look around and go to a careers fair and there will be someone at the chick-lit author stand.
How do you walk into someone's life again after twenty-eight years? How do you pick up, when you were too young to know where you left off.
A Mudboy is just somebody who came from nothing: you know, who turned nothing into something. You know, when I was in Africa, in the rain, I walk around in, like, mud, you know, the sand would turn to mud, and you are not getting out of that.
As long as you can walk the street and you know there's a tomorrow, there's always that chance. That's how I've always been. I've always had complete belief that I would make something out of myself again, because to me, it's always been about accomplishment.
As a former teacher, I know how frustrating it must be to watch students walk out of class, particularly if they have important exams on the horizon.
No matter how much we know about the other person, there is always something going on in that other heart and that other head that we don't know but can only ponder. And no matter how we explain ourselves to someone else, no matter how open we are, there is always still something inexplicable, something hidden and unknown in us, too.
I never know how to worship until I know how to love; and to love I must have something that I can put my arms around, — something that, touching my heart, shall leave not the chill of ice, but the warmth of summer.