A Quote by Bill Budge

On the robot kit, I can choose very boring parts or I can choose exciting and interesting parts. That is a reflection of my personality and the kinds of things I am interested in.
When it comes to picking parts, I do make an effort to choose parts that I want to do, and not necessarily parts someone else wants me to do, or parts that someone else is going to respond to.
Each time you choose not to act on a frightened part of your personality, you create authentic power - and you grow spiritually. The frightened parts of your personality come less frequently and with less intensity, and the loving parts fill more and more of your consciousness.
We're very lucky, men, that there are these fabulous parts. Women - once you've done all the parts in Shakespeare, they start running out. So you can pick and choose and find something to energise you.
The first step is to distinguish the loving parts of your personality that are active from the frightened parts of your personality that are active - in other words, to learn to distinguish love from fear in you. The second step is to choose love, no matter what.
As an author, you think you know where the good parts and the bad parts are. And then you read to a group of children, and you learn when you're boring them, and you hurry through those sections to get to the parts where they're interested again. You start to get a sense of your story's rhythm and flow.
You can't just skip the boring parts." "Of course I can skip the boring parts." "How do you know they're boring if you don't read them?" "I can tell." "Then you can't say you've read the whole play." "I think I can live a happy life, Meryl Lee, even if I don't read the boring parts of The Tragedy of Hamlet, Prince of Denmark." "Who knows?" she said. "Maybe you can't.
When I auditioned actors I never make them act. I choose a long symphony, then I tell them to sit down and I play the symphony for them. Then I sit and I look at them. I always pick a piece of music that has up and downs, very dramatic parts, very quiet parts and really sensitive parts so that it can produce different emotions.
The way I choose parts is I look at the scripts... I choose a part by whether or not it challenges me.
Life, like any other exciting story, is bound to have painful and scary parts, boring and depressing parts, but it's a brilliant story, and it's up to us how it will turn out in the end.
We do not choose our own parts in life, and have nothing to do with those parts. Our duty is confined to playing them well.
If people choose to judge how you look, that's their situation. I didn't feel that it was a problem. I've played all kinds of parts. I've played glamorous, and unglamorous, and all kinds of people. People want to pigeon hole you, I think.
If I can choose who I am in the moment, then I can choose to come in as my left brain personality and all of the skill sets that goes with that.
My life - my personality, my habits, even my speech - is a combination of the books I choose to read, the people I choose to listen to, and the thoughts I choose to tolerate in my mind
There is only one way out of the trap: that you don`t choose; neither this nor that - you simply don`t choose. You withdraw from choice and you become choiceless. Choicelessness is freedom. To choose is to choose a prison; to choose is to choose a bondage. To choose is wrong, to be choiceless is to be right.
I'm selfish, I think. I think an artist has to be. I'm not worried about what people think. I play the parts that I find interesting. It'd bother me more to be just pigeonholed into doing what people think is ethical or that's boring to me. I don't pick parts with that in mind, I just find interesting stories. If it's interesting to me, then I do it.
I don't choose parts. I choose filmmakers. I'm done trying to make a statement with a character. What happens is, I craft a performance from the beginning to the end of the character. Then I release it to the director, and he interprets what I gave him.
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