A Quote by Columbus Short

You've got to be honest with yourself aesthetically about who could you play. You want to artistically be true to that character. — © Columbus Short
You've got to be honest with yourself aesthetically about who could you play. You want to artistically be true to that character.
You can be true to the character all you want but you've got to go home with yourself.
To be honest, when you're running a series and you have an open end, you don't want to limit yourself too much with the choices you've got for a particular character.
When it's a comedy or drama or horror or romance, it's all the same. You want to be honest with the character. You want to play truthfully and you want to be genuine with your character.
You're always learning about yourself, if you're honest with yourself. It's very tough to be honest with yourself. We all are dishonest with ourselves, a lot of the time. We don't want to deal with something, so we compartmentalize it.
Artistically, I find jokes really satisfying aesthetically, because there's something great about getting an idea down to a sentence or two.
You want to be honest with a character and play it truthfully, and you want to be genuine with your character.
Grace frees you to be honest about what you've always known to be true about yourself: that you're weaker & more afraid than you want to be.
You're always trying to find common ground with whatever you do, but you want to not be thinking about yourself when you're performing a play. The job is getting yourself out of the way and letting the character go about the scenes.
I just try to be honest and true to the character and play the part.
It's hard to say what you learn acting a part. You find bits and pieces of yourself that are inside the character you play. You locate the relatable aspects of that character to your own life. So, in a way, every part you play forces you to discover things about yourself you might not have learned otherwise.
Encouraged, we recognise the importance of living artistically, aesthetically and creatively as creative creatures of the creator.
You always watch Match of the Day and think to yourself, 'I think I could've scored that chance.' But when you're young, you always want to play. For me, it's not about someone saying, 'We want you to play every game.' It's about being given the opportunity. That's more important.
Dad could talk about peace and love out loud to the world, but he could never show it to the people who supposedly meant the most to him: his wife and son. How can you talk about peace and love and have a family in bits and pieces - no communication, adultery, divorce? You can't do it, not if you're being true and honest with yourself.
I'm not too picky about guitars. I love to collect them, mostly oddballs, but I'm not married to any brand or model. Whatever guitar has the best character for the song is the one I want to use, because if you've got a style, you're going to sound like yourself no matter what guitar you play.
The first thing that happens is the cleansing of the former character. I don't think a lot of actors talk about it, but there is usually a process where you essentially purge yourself of the character played prior to the movie. Then you want to think about what the character represents, and you write down all of the elements about this character and then take the time to find some synchronicity and start breathing the character.
I think my legacy is important because my songs - perhaps more than those of any other songwriter I know - cover every movement from 1965 on, socially and artistically. If you want songs about ecology, I've got ecology songs; if you want songs about spirituality, I've got spiritual songs.
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