A Quote by Alok Nath

I now realize the parts I played are too good to be true. — © Alok Nath
I now realize the parts I played are too good to be true.
The most ancient parts of truth . . . also once were plastic. They also were called true for human reasons. They also mediated between still earlier truths and what in those days were novel observations. Purely objective truth, truth in whose establishment the function of giving human satisfaction in marrying previous parts of experience with newer parts played no role whatsoever, is nowhere to be found. The reasons why we call things true is the reason why they are true, for to be true means only to perform this marriage-function.
There are good parts and bad parts and middle parts about everybody. So what I would like to be known as is someone who was true to himself and passionate about the game.
I think the parts that I played sort of broke the mould in terms of - you know, I played grey characters, the bad girl with a good heart, there was a good reason for her to be bad.
I'm a big believer in the notion that our greatest potential lies in our darkest parts. To a certain extent it's only in facing those parts of ourselves that we can truly grow, and I think that's true of all of the characters I've played, certainly in the past few years.
I've never been typed. John Wayne played 'that guy' all the time - mostly because that's all he could do. Gable played Gable parts, and Bob Taylor played Bob Taylor parts, whether he was in armor or a full-dress suit. I resisted that.
I buried myself so much in the classics that I felt, "Well now, I've played all the big parts, whether badly or goodly, I don't give a damn, but at least I've played them all. Now, let's start again. Let's start the whole career again." And it makes you feel like you're beginning again, it really does.
I had already played a lead on Broadway before I ever did a film. I had had three, four seasons of stock with good, fat parts, good supporting and leading parts. And I had done, oh, God, over 400 live TV shows.
At my school, which was all boys, I played almost exclusively lady parts. When I say lady parts, I mean parts that were ladies. To actually play lady parts would be weird, even by English standards.
I think writing comics is predicated on being a fan - there's no either/or. I'd argue I'm an even bigger fan now than when I started because I know how the hot dogs get made. And I kinda always saw the moving parts. I think I appreciate the good ones more now that I realize how lousy the production process can be, how hard it can be, and how easily something good can get crushed in its cogs.
Most programming languages contain good parts and bad parts. I discovered that I could be better programmer by using only the good parts and avoiding the bad parts.
Particularly with the plays I choose, they're good parts, and they're parts that have been around long before a bad actor played them, and will be around long after I play them. Part of what I enjoy about the theatre and acting is that sense of history.
I played a role. That is what actors do. But I played it too well. I went too far. And by the time I wanted to stop, to take a bow and leave the stage, it was too late.
I didn't know when I was growing up that this was a very special program, that this wasn't going on in other parts of the country. Now I realize that I was lucky.
I've played a lot of parts. But I don't look at my feeling is that this is a job. It's given me a good living.
Our early days - our audiences were always very sparse. We played very obscure places in very obscure parts of the world, mainly Kansas. We played frat parties, we played high school proms, we played clubs.
I just finished my 62nd or my 63rd movie here, and you know, I do good ones, I do bad ones, I do big parts, I do small parts, I do cameos - but I've allowed myself a pat on the back, because I realized that I've been working in Hollywood now since 1973.
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