A Quote by Brad Warner

I'm not sure that Eastern culture does either, but I've never lived in India etc so I couldn't tell you. I can say we definitely don't. So people will sometimes come in contact with something strange and think, "Oh, it must be like this" and have a lot of fantasies about it, and somebody who sort of looks like our fantasy version of what enlightenment is can be very convincing in seeming like they've got something and then play that role.
There are these fantasies among people who watch movies where they're like, "Oh, there's a chemistry between them - something going on." And sometimes there is. But for me, it's more like, I go to work, I do a job, I play a role, and then I go home. I don't wear a cape at home. I'm not an invulnerable alien at home.
If the majority of people said I did something wrong, then I must be wrong, and I will think 'I didn't even mean it like that, why are you treating me like this?' But if a lot of people say that I'm wrong and it's not good, then it must be not good. I will say, 'Okay' and then tell myself that this cannot happen again. I have to grasp it and change it for the better.
Sometimes I will give some very vague directions to the designer that I'm working with on a particular project and they'll come back and surprise me with something that really shows a lot of their own 'hand' in it. Other times I'll have a really clear idea about how I want it done and I'll draw it out pretty precisely and say 'make it look exactly like this' and it will be something where it looks like I can say it was 'fully my design'. The work can also range between the two.
When you look at the... atmosphere on the limb of the Earth, I wouldn't say it looks unhealthy, but it definitely looks very, very fragile and just kind of like this thin film, so it looks like something that we definitely need to take care of.
It's funny: when people always talk about the importance of role models, I used to think that was so exaggerated, but as I get older, I start to realize I don't feel that way so much anymore. If you see somebody like you who's doing something, an older version of what you are, it does make you feel like it's more possible.
I'm not really sure why so much people still listen us. I think we live in an era when people get attached to stuff, and it means something. Then I think a lot of people heard about it over the years - like somebody's older brother might tell them, you know, because we're from his era, and he might be like, "You need to listen to this; this is what it's all about," you know what I mean? I don't know, man, it's hard to say. But it makes us feel special.
I like to play people that are real, a real person, and then something that's interesting with that person. I think it's a lot more challenging to do that than something that's extremely fantasy-like.
My looks vary, but I definitely think about it and plan. I like to shop, too, so I'm always mixing it up. But normally, I'll be wearing something like a college T-shirt and a sweater, something like that. But I definitely have to plan.
I think it just seems like something that somebody else does, like they raise actors somewhere in Ohio, and once in a while, people go and pick their actors and move to Hollywood. It seemed like such a distant idea. But then, as I started growing up, I'm like, 'Oh, this is an occupation.'
I think minimalism is something I just got attracted to just in general because I like the empty space, if you think about it, like there's a lot of empty space. So there are sounds there, there are chords, like coordinates, to sort of tell you where the emotion is going, but then it leaves so much room for the voice to do other things.
I only try to talk to people about things I really do use in my shot. If I see something similar and something that will help them, then you try to come to them and say, 'I think I might have something for you. Think about it if you like it.' If they do, and they want to keep talking about it, then I will.
Paul Schofield said something like, 'If I'm not acting in a play, I don't really exist.' Those weren't the exact words, but he meant it's only when I'm acting in a play that I've got something to say about the world. And then why should I talk, when people can come to see it?
This is going to sound pretentious, but I like comedy that addresses something I find either worrisome or interesting in my life. I like Louis C.K.'s stuff or Bill Burr's stuff. I feel like there's comedy where someone will think of something that they think will work comedically, and then they reverse engineer that point of view so they can say that funny thing. The comedians I like, it could be an allusion, but it feels like their point of view comes first and then the jokes are a reflection of what they actually believe, or are frightened of, or are curious about, or are interested in.
A lot of times when I ask people what their apocalyptic fantasy life is like, they'll immediately say something like, "Oh, what I think is going to kill us is climate change or World War IV," and that's not what I'm interested in at all. The point is not about winning a bet about what's going to happen. The point is about the human action of examining the possibility, the kind of obsessive imagining about it.
Of course, you can never watch something like somebody else watches something like you, but nonetheless, you have to try. So I think on camera you learn a lot about how much the camera does for you, which is what is the great luxury of movie acting. Or acting whether it's TV or movies or whatever it is, that the camera's really such a gift because there's so much that it sees and does if you're willing to just be open and expose yourself and all of that. So you also learn what doesn't matter. And sometimes when you think about things, you think things matter that don't matter.
Sometimes, when I'm on the red carpet or something, and there was a lot of flashes, my eyes, like, start watering. I'm like, 'Oh.' You have to hide it, so I just keep going, and then I'm like, 'Oh gosh, it hurts so bad.'
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