A Quote by Christopher Walken
I don't usually get to play fathers or grandfathers or uncles. Now that I'm older, maybe I can play people closer to myself. I'd like that.
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I like to play things that people understand, or maybe tunes that they could recognize. And so — I play for the people, just as much as for myself. Because, as I say, I still like to play.
I'm in a place in my life where I get offered parts that I didn't get offered before - fathers and uncles and grandfathers and so on. And it took me a long time to get to that place, but I'm glad because it opens up new territory.
Our family was like no one else's. My schoolfriends had fathers and grandfathers and uncles who did things, but in my family, women had been the doers.
To get a script like 'Death Proof' and to get cast in it just affirmed that I want to do character work; that's where my heart is. Maybe I will get to it again, maybe I won't, but it's what I like to do is play something a little outside of myself. This solidified the desire certainly for me.
Then Arjuma saw in both armies fathers, grandfathers, sons, grandsons; fathers of wives, uncles, masters; brothers companions and friends. . . . When Arjuna thus saw his kinsmen face to face in both lines of battle, he was overcome by grief and despair and thus he spoke with a sinking heart.
As I've gotten older, the parts have diminished. I liked it when I was younger, I could always play the lead in the movie and I could do all the romantic scenes with the women, and it was fun and I liked to play that. Now, I'm older and I'm reduced to playing the backstage doorman or the uncle or something. I don't really love that so occasionally, when a part comes up, I'll play it.
I understand that actors lose their looks, they change over time, but people don't lose their talent. I think that, as people get older and the people who make the decisions get older, they don't like hiring people much older than them because it reminds them of their fathers, and they don't like telling people older than them what to do. It makes them uncomfortable. I think that happens a lot.
The spirit of playful competition is, as a social impulse, older than culture itself and pervades all life like a veritable ferment. Ritual grew up in sacred play; poetry was born in play and nourished on play; music and dancing were pure play....We have to conclude, therefore, that civilization is, in its earliest phases, played. It does not come from play...it arises in and as play, and never leaves it.
I don't play for myself. I play for my teammates and play for the people that helped me get to where I am. I know they're watching me every week, and I want to play for them. It's just in my heart, and that's who I am.
The offers I get are for grandfathers, uncles - and they often die very quickly in the script.
Growing up, I loved to play. Writing was a natural outtake of play. I realize now, having kids, that maybe that's unusual. Living out in the middle of nowhere, I entertained myself by writing.
I just have these lapses. Guess I'm stuck with it. But I play better when I get behind. I say to myself, 'Now I have to play well.'
It's the way you play that makes it . . . Play like you play. Play like you think, and then you got it, if you're going to get it. And whatever you get, that's you, so that's your story.
The cool thing about being in drag, just like getting to play a role in a play, is that you get to play a fantasy and you get to play someone else that you're not used to.
The story of Judith. But one of the reasons I'm doing it is because the roles I've been writing for myself over the past few years have gotten older and older. And I thought, You know, before it's too late, I want to play a sexy, tough young gal again. And I always wanted to do a Biblical epic. So, I'll play a beautiful young widow who saves her people from the Assyrians.
The people whom the sons and daughters find it hardest to understand are the fathers and mothers, but young people can get on very well with the grandfathers and grandmothers.
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