A Quote by Dale Robertson
Don't ever take a dramatic lesson. They will try to put your voice in a dinner jacket, and people like their hominy and grits in everyday clothes.
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Come here and take off your clothes and with them every single worry you have ever carried. My fingertips on your back will be the last thing you will feel before sleeping and the sound of my smile will be the alarm clock to you morning ears. Come here and take off your clothes and with them the weight of every yesterday that snuck atop your shoulders and declared them home. My whispers will be the soundtrack to your secret dreams and my hand the anchor to the life you will open your eyes to. Come here and take off your clothes.
I was weaned on chicken-fried steak and hominy grits with goopy gravy all over. I loved meat and wore fur.
The way I lived, I grew up in a time where people would take your shoes, they'll take your jacket, they'll take your cheese without a gun. So people would jump on you - this was like fourteen, fifteen years old. So it always taught me that you gotta have your crew, in some ways you gotta move, don't put your self in harm's way, and definitely if you're a street dude and want any kind off credibility, don't put yourself under the mercy of anybody else, or you'll be at their mercy; they can do what they want to do to you.
First, a gorgeous breakfast: just everything you can imagine from flapjacks and fried squirrel to hominy grits and honey in the comb...we're so impatient to get at the presents we can't eat a mouthful.
Through designing clothes, I try to bring solutions to people, and I'm interested in the everyday relationship we have to clothes.
He who has talent in him must be purer in soul than anyone else. Another will be forgiven much, but to him it will not be forgiven. A man who leaves the house in bright, festive clothes needs only one drop of mud splashed from under a wheel, and people all surround him, point their fingers at him, and talk about his slovenliness, while the same people ignore many spots on other passers-by who are wearing everyday clothes. For on everyday clothes the spots do not show.
We are working women. Also, we have the problem of children, of men, to take care of our houses, so many things. I try to explain that in my clothes. They are clothes for everyday life. That is the real life of woman.
I got good at trying to throw a voice on a character from the very beginning as opposed to like reading it and sitting with it and mulling over it and stuff like that just try to read what it is and then try to put a funny voice to it like as soon as possible and stuff like that. Once you get laughs with your voice then you can start thinking about, you know the physical characteristics and how they might walk or if they stick out their buck teeth or if they wear an afro and stuff like that. I think like finding the voice of the character helps to like build the wardrobe and everything else.
Write like you write, like you can't help but write, and your voice will become yours and yours alone. It'll take time but it'll happen as long as you let it. Own your voice, for your voice is your own. Once you know where your voice lives, you no longer have to worry so much about being derivative.
I know my voice has a limited range of motion; I don't write dramatic monologues and pretend to be other people. But so far, my voice is broad enough to accommodate most of what I want to put into my poetry. I like my persona; I often wish I were him and not me.
Something like Deckard Cain is great; it doesn't ruin your voice. But games that involve violence or battle or mutating and stuff like that really does take a toll on your voice. And I've even had to start to go to a voice guru kind of guy to do exercises to try to save and get back some of what I lost.
I do love the clothes on 'Mad Men' because my character has been so elegant and I would never have had access to these clothes. I think Janie Bryant is a costume designing genius. They'll call and tell me, 'It will only take an hour,' and I'm like, 'I will try on the whole truck!'
When you're undercover you try to stay as true to your identity as you are. You know who you are, and you know how you normally function. If you try to put on a pretense, such as assuming a fake voice, you have to put on that fake voice all of the time. And you can't afford to slip out of it. It's too dangerous.
I called my grandmother yesterday. She picks up the phone, 'Oh hello, dear, hold on a second, I just stepped out of the shower. Let me go put some clothes on.' I said, 'Hey Grandma, don't ever tell me you're naked again. Go put a lot of clothes on. Then put some more clothes on. I'm going to sit here and drink and try to forget you naked in my head.' I'll never eat raisins again.
I would like to play some character that's somewhat dramatic. I don't see myself ever becoming that serious, or it sounds weird, but I don't see myself doing something that's really dramatic but somewhat dramatic. I would like to do something that's more real and doesn't have to be laugh out loud funny. I always like whatever I'm involved in... whether it be funny or whether it be somewhat like... I'm not gonna try to get people to really cry.
Just because you're wearing something that's like a gown or what have you, you should wear it like you can take your shoes off and put your feet up and what I realized is that most people I love fashion-wise, they wear clothes like that. An ease to it. I thought that was a nice tool.
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