A Quote by Damon Lindelof
Hopping around time in a non-linear storytelling fashion (on 'Lost') allows you to bring back characters who are dead and, in some cases, buried. Now that time travel is the story itself, it opens up even more doors. So when an actor reads that they're getting killed off on the show, they're basically, like, 'Okay, but should I still bother to show up next week?'
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I didn't even know what Chikara was... So I show up at the show, and I'm expecting a normal wrestling show... there's like a f#%ing dude in a dinosaur outfit walking around, and there was a stipulaton that someone would be sent back in time... Not that I disliked it or anything, I was just like, what the hell is going on.
I would never go back to doing the show again. I mean, every day I think about Lifestyles because somebody comes up to me and tells me how much they love the show and I should bring it back, but this is not the time to bring it back. I don't think it would be as successful today as it once was.
I love live theater. I get my rocks off by doing stand-up, and I am the only actor. But to show up eight times a week and not have that time for myself; to do someone else's lines? When I work for Wendy Wasserstein or Terrence McNally, Neil Simon or even Shakespeare, I do not have the right to change the lines.
I hate heroin. It killed off a lot of my generation. It killed off a lot of my friends. Now this generation is getting killed off again. I can't believe it. How many dead bodies do we need to have piled up?
The way my books are structured, everyone was together, then they all went their separate ways and the story deltas out like that, and now it’s getting to the point where the story is beginning to delta back in, and the viewpoint characters are occasionally meeting up with each other now and being in the same point at the same time, which gives me a lot more flexibility for killing people.
Once you buy into a television show, there doesn't have to be resolution from week to week. You can develop characters and storylines and react to the audience, so you get more of a serialized version of storytelling where you can go much deeper into each character. It's more like a novel.
I'll probably not be the best actor in Hollywood, and I am okay with that. But I will be the hardest working one, and I'll be the one that people like to work with because I show up on time, and I don't complain.
There comes a time when all the cosmic tumblers have clicked into place - and the universe opens itself up for a few seconds to show you what's possible.
You can show up at Everest having never really climbed before, because it's like hiking, basically. You can't show up on Meru and start up the thing unless you have years and years of experience. Climbing and spending time on the mountains is really the only way you can train.
Yeah? Okay," she said, staring up into the stars. "Let's see. You know how, at the end of Romeo and Juliet, Juliet wakes up in the crypt and Romeo's already dead? He thought she was dead so he killed himself right next to her?" "Yeah. That was awesome." A pause, followed by "Ow," suggested elbow punctuation on the part of Mik. Karou ignored it. "Well, imagine if she woke up and he was still alive, but..." She swallowed, waiting out a tremor in her voice. "But he had killed her whole family. And burned her city. And killed and enslaved her people.
With the television thing you have this lull of time where you're not with the character. And when you get those first pages, you're like, "Who is she again? Huh? Where did we leave off?" Then you show up at the read-through and all of the sudden the voice is there, and you realize that the character is still stewing in you all that time, even in the downtime.
I think the tricky balance, the most important thing more than the horror is to have a compelling story, compelling drama, a show about great characters that you care about and you want to come back every week to see what they're up to.
Some bruises you wear like badges of honour: when you got it playing rugby, or quad racing, or falling off something while drunk, no opportunity is lost to show off a good contusion. A bruise inflicted by someone else, however, is a whole other story: it's like a big flashing arrow marking you out as punchable, and before long there'll be boys queuing up to add bruises of their own, as if they'd just been waiting for somebody to show them it could be done.
I live out of a bag. I just looked at what's going on for me, I'm not gonna be back in England for more than a week between now and March of next year, I think, which is crazy. By that time the lease is up on my apartment! I'm getting a kick out of being homeless.
If you're playing a good guy, you show some darkness. If you're playing a dark guy, you show something different, like humor, that will mix it up and hopefully surpass the audience's expectations. What I'm battling all the time is complacency in the audience. I try to bring a little mystery to what might happen because that engages people more.
I spend tons of time on the music for the fashion shows. I work with this DJ, Jeremy Healy, and we do, like, four or five sessions during the week leading up to the show where we put the music together.
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