A Quote by David Kirschner
It just sort of suggested a very specific kind of impudence like this little-man syndrome. Chucky has this Napoleon complex. He's a little guy with a lot of rage and that really pointed us in the direction of exploiting that aspect of his character, which people always seem to enjoy.
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I kind of just lost track of laps. I couldn't hear a split. It was just so loud in here everyone was going nuts. I sort of felt like I was a little tired and I said, the people in front of me seem like they are falling off the lead pack a little bit. I should probably make a move. I hear ding, ding, ding, ding and I thought "oh crap! I've really got to go, I've got a lot left.
There's probably some buried conservative inside of me, coming out like a little gremlin in my belly that I've suppressed. This is a sort of character I've done before: He's kind of dumb and he's kind of arrogant, and a little seedy. A little coke-y. He's gotten into the cocaine or he's had too much coffee. It's been pretty fun. Not all the songs are like that but it sort of creeps in there.
I just like Forrest Gump. Maybe I'm a little smarter than him, maybe I'm not. Probably because of the whole Southern aspect of his character and for some reason I always wind up on the better end of all deals... I've just kind of got the old silly boy luck!
I'm talking about people who claim to love people. I'm talking about people who claim to love and represent the little guy. They're the people that tell us that if not for them, the little guy would be trampled on daily. Well, if they really cared about the little guy, if they really cared about the little guy, and want the little guy to have an improved life, more contentment, more happiness, then the United States is what you would emulate. You certainly wouldn't tear it down.
I'm a little brother. I've always been small. People have said I have a Napoleon complex. But I've always had to fight for everything that I have.
I really kind of always wondered, if I did Superman, what I would do, and what I would be able to do, because it's a little harder for me, being kind of a realistic guy, to imagine doing a character who almost has no limits to his powers.
As an actor I'm part of a long line of character people you can take back to the silent movies. There's always the little guy who's the sidekick to the tall, good-looking guy who gets the girl. People tend to not think of themselves as Tom Cruise or Bruce Willis. The leading man is something that they might like to be, but they aren't. The sidekick is somebody that they feel a little closer to, because the sidekick has the same human failings that they do.
There are people who can write their memoirs with a reasonable amount of honesty, and there are people who simply cannot take themselves seriously enough. I think I might be the first to admit that the sort of reticence which prevents a man from exploiting his own personality is really an inverted sort of egotism.
I've always seen making movies as a bunch of little births and deaths. We come in. We don't know anybody or very few people that we work with, but the nature of the job pulls us into a sort of an intimate kind of relationship and communication and then they're gone and it's kind of melancholy. You miss that guy but then suddenly you're working with him again maybe somewhere.
We try to make each situation specific to the person. At the beginning of the season, we come up with, like, 50 to 100 ideas, which we workshop and then we call around to see who is interested in doing something like that. Once we find the people, we make the bid specific to them. A lot of it is about where you can get people to go physically, which is a little tricky because most actors and musicians are kind of hermits-they like to stay in their houses.
I get sent a lot of scripts which feature him as a kind of all-purpose Victorian literary character and really understand little, if anything, about him, his life or his books.
I always try to bring a little bit of my own personality to the character, or some sort of personal connection makes it a little bit more of an organic portrayal and the audience can kind of maybe believe it a little bit more. But I always look for something to kind of connect with and identify with, or bring something of myself to the table.
The people at the very top could fall by and grace you with their presence and give you a little largesse, and you'd be "Oh, I'm so beloved." In a way, it was kind of like flattery. The middle managers didn't quite have that cachet, but at the same time, they had to seem like they were of that caliber. So there's a little bit of loneliness at the heart of those with a little bit of power.
I got a dog with a Napoleon complex. I have a Napoleon complex. We're small. Anything big that we feel is threatening us, we want to fight. We're not a pushover.
Black people have, like, this thing, and I have it, we all have it, we have this kind of embarrassment. Where we don't like white people to find out our little insecurities and out little quirks. We don't really like that that much. It's kind of, we're like, 'Don't let them know - that ours; that's for us.'
There was a whole cut of the movie where Tom Holland decided to try a woman's voice for the voice of Chucky, proceeding from the logic that it worked with Mercedes McCambridge voicing the voice of Satan in "The Excorsist" so he thought he would give it a try. It didn't really work. Chucky just sounded kind of gay.We brought that back in Seed of Chucky.
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