A Quote by Denis Leary
Sometimes 'great acting' is just showing off - chewing up scenery and dialogue and other actors - the equivalent of a theatrical sugar rush.
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The pressure is always stepping on stage with actors who are just so well-established. It's a scary thing. I haven't been around the block that many times, especially not on big projects. Dialogue makes things easier. When you start bouncing dialogue off of other actors, it becomes comfortable; it becomes conversational.
The interesting thing is that, well, here's what I think about songwriters and songs. Sometimes people sit down and say, "I gotta write a song today, I have a title" and all of that, and sometimes inspiration just happens, almost like "Sugar, Sugar" and a couple of the other songs. But basically, I just started playing the piano, and I'm not a great piano player.
I also grew up building theatrical scenery. I spent many years building scenery as a large part of my income and that allowed me to really develop my shop skills.
I've stopped showing actors what to actually do. I rather just talk to them about it. Then I usually play music. That's a great way to convey inner emotion, bring the power of style and acting together. That's really what it is, very good acting without talking.
Sometimes you can just have a dialogue with an actor beforehand and shape the performance then, but other actors need more guidance on the set.
I like to go off the other actors in the scene, which kind of stinks when you're acting with someone who's not that great.
I just want to make pictures that are entertaining. I'll leave the scenery chewing to someone else
I just want to make pictures that are entertaining. I'll leave the scenery chewing to someone else.
Because I came to acting quite late, I kind of think one of the few attributes that I do have is that I try to be honest with the character, with the writing. I'm not a tricksy actor; I'm not exactly a scenery-chewing kind of actor.
I love talking about acting. I'm just such a fan of actors and filmmakers, and I try to choose roles where I get to talk to great actors about acting and learn.
I rented a house, recorded the stuff in a house. Just took my time 'cuz sometimes it's just rush, rush, rush. I just wanna live and play music.
A long-term relationship is about showing up and working hard and banking on each other. If one's down, the other might be up and can help the other one up, and sometimes you're both down and you just [band] together. Endurance is a big theme of it for me. That might not sound romantic, but I kind of think that it is.
I don't want to be like the actor who rehearses everything in the bathroom, then comes to the set and carries on completely uninterrupted while the other actors tiptoe away. I'm so dependent on reacting to the other actors on the set, and to the director. I'm very responsive. I react. And I treasure the energy that reaction gives. I feed off that and work off that. I don't like to be too prepared, no. However we define too prepared, if I feel it's getting that way, then I'll back off. My line-learning is very special. I like to learn the dialogue of the whole film before I arrive.
I've got a great life that I really enjoy. But there is something chewing at me inside: that adrenaline rush from football, I miss that.
I think I come from a theatrical tradition where, if you look at the great theatrical actors of the British theatre, they took enormous pride in being wildly different from one role to the next. That's the tradition I come from.
We have so much access to one another through technology and everything else, that we're very much used to people being real. When folks go on TV and they're basically acting - if they were good actors they'd be acting and paid for it for a living, but they're not good actors. When we see bad acting, it doesn't look like bad acting, it looks weird, and we are turned off by it. I'm not talking about anybody in particular, that's just politics right now. This generation, I feel like, has incredible bullshit detectors.
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