A Quote by Charles Dance
I had a stammer through adolescence. Any fun I'd had performing in school plays disappeared and only came back at 18, when the stammer started to go. Then I thought: 'Well, perhaps I can show off now.'
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Something that had an enormous influence over my relationship with language was my stammer. I had a really bad stammer in my childhood and adolescence, and that imbues you with two things. First, a hyper-sensitivity to grammar, because a stammerer will have problematic sounds, impossible verbal stumbling blocks. Second, writing is just such a joy when you have a problem with speaking. It's so astonishing to watch language coming out of your pen without any hesitation or dysfluency.
What has influenced my life more than any other single thing has been my stammer. Had I not stammered I would probably... have gone to Cambridge as my brothers did, perhaps have become a don and every now and then published a dreary book about French literature.
I started performing at home as a kid putting on shows and lip-syncing Michael Jackson for the grown-ups. Then, in musicals and plays in school. At 17, I was performing in coffee shops and in parking lots at Phish shows. At 18, I had a band that played local shows in the Northwest.
No one knows for sure if you can inherit a stammer, and so I worry that my baby might. It's why I want to work on my speech before he arrives. I don't want him to hear me stammer.
I started at home as a kid putting on shows and lip-syncing Michael Jackson for the grown-ups. Then, in musicals and plays in school. At 17, I was performing in coffee shops and in parking lots at Phish shows. At 18, I had a band that played local shows in the Northwest.
What happened to your stammer?" "I suppose I must feel comfortable with you. I tend to stammer less with certain people." "No one's ever told me that I'm a comfortable sort. I'm sure I don't like it. I'll have to do something diabolical soon to correct your impression.
My step-dad started playing hockey in Detroit so we moved and I had to start home school. I started watching movies since I had a bunch of free time and then I was like, 'You know what? I want to give this a shot, move back to L.A., and audition.' The first show I booked was a show called Threshold with Carla Gugino and it was obviously a terrifying experience and I felt out of my comfort zone, but it made me want to keep going because it was fun.
I had this terrible stammer, so I couldn't really speak properly until I was 16 or 17.
When I first started comedy, before I kind of gained any national prominence, I - in a weird way - went back to that. Marc Maron had me on WTF making fun of me about that when I first opened for him. I had this very kind of hip-hop bravado to me, and I realized that now I've let some of that go in my stage presence, that maybe that was because I had dropped that completely from my life, and when I got onstage I sort of rekindled it. And I think now that it was perhaps a defense mechanism that was left over from those days, which I think is kind of interesting.
Back in the days, we had to work with a shoestring budget. We had a movie screen, and we'd show movie trailers on them, and then we'd rip through it and started playing. Now we have a little money to play with to do a cool stage set.
The requests started coming in from other prisoners all over the United States. And then the word got around. So I always wanted to record that, you know, to record a show because of the reaction I got. It was far and above anything I had ever had in my life, the complete explosion of noise and reaction that they gave me with every song. So then I came back the next year and played the prison again, the New Year's Day show, came back again a third year and did the show.
I had been doing all my school plays, elementary school, middle school, and high school, and then summer. I'd wanted to act for a long time, and I thought I was going to go to college and do theater, go that route. But 'Superbad' kind of fell on my lap. I was very, very lucky for that.
I realized that the actors that I liked and admired all went to drama school and got an agent that way. So I started when I was about 16 in drama school, and then I knew I had to wait until I was 18 so I could go on auditions, and I tried to get into one of the ones that I liked and then go from there.
I was about 17 or 18 when I first started performing in public. I had a teacher when I was a freshman in college and she came up to me afterwards and said she had been crying while I had been singing, and it really shocked me.
I still have a stammer. I hate it; I loathe and despise it. But it's always there, and I have lots of ways to conceal it. I can conceal it now but I'm not good on the telephone. I get my husband to make dentist appointments. And I hate live radio. Hate it. I really try to avoid it at all costs. But it's always there. Stammerers become skilled at sentence construction and synonyms: we have to be. Faced with a problem word, we need to have instant access to eight others we could use instead - ones we could say without stumbling. I think my stammer is a huge part of my being a writer.
It wasn't fun to go to school, because we had to wear these blue things around our necks. We had to join the Pioneer Society, and we had to salute with our hands over our eyes. Even then, I was thinking for myself. I thought this wasn't so different from the way the Nazis had conditioned people.
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