A Quote by Domhnall Gleeson
I'd been very certain about not wanting to do the acting thing because of my father. I thought I'd always have the father-son thing of 'He got you the part.'
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The father-son thing, that's a separate thing. This film [Forsaken] was not about that. This was a film about two actors wanting to try and tell a story... and taking advantage of the fact that we looked like a father and son.
The Son is called the Father; so the Son must be the Father. We must realize this fact. There are some who say that He is called the Father, but He is not really the Father. But how could He be called the Father and yet not be the Father?... In the place where no man can approach Him (I Tim. 6:16), God is the Father. When He comes forth to manifest Himself, He is the Son. So, a Son is given, yet His name is called 'The everlasting Father.' This very Son who has been given to us is the very Father.
'Wayne of Gotham' is very much a father-and-son exploration. We've always seen Thomas Wayne through the years as this figure carved in marble; this perfect man. The only thing we really know about is that he died in that alley outside of a theater. But every son has to confront the reality of his father at some point in his life.
... if we say that the Father is the origin of the Son and greater than the Son, we do not suggest any precedence in time or superiority in nature of the Father over the Son (cf. Jn. 14:28)? or superiority in any other respect save causation. And we mean by this, that the Son is begotten of the Father and not the Father of the Son, and that the Father naturally is the cause of the Son.
Can anyone be a father without beginning to be one? Yes, one who did not begin his existence. What begins to exist begins to be a father - God the Father did not begin at all. He is Father in the true sense, because He is not a son as well. Just as the Son is son in the true sense, because He is not a father as well. In our case, the word 'father' cannot be truly appropriate, because we must be fathers and sons.
I got serious about performing, and I got serious about acting. It's very funny; singing has always been a very separate thing for me - until I went to college. I just studied musical theater because I was like, 'That means I can study voice and acting in the same major, and I won't have to double major.' Now I do musicals for a living.
Every backstory involves my father. I remember hearing Gary Oldman talking about backstories and saying, 'I got to stop using my father...' And I feel the same way. I don't know. What I come up with always involves some element of this son trying to prove himself to his father.
My father wasn't there the majority of the time. My father, someone who I always honored and looked up to, had been in the military; he had been to war. I would hear stories about different experiences he went through, but as I got older, my father moved away.
Thus the connection of the Father in the Son, and of the Son in the Paraclete, produces three coherent Persons, who are yet distinct One from Another. These three are one [thing], not one [Person], as it is said, 'I and my Father are One,' in respect of unity of substance not singularity of number.
'East of Eden' is an important story for me. It's about a kid that's misunderstood and feels like he's not loved by his father. It's a very father-son kind of story, and it's not until the end that they sort of make up. I like that because every boy has trouble with his father, so it's very relatable.
Being a father is the hardest job on the planet, because we don't have parental instincts like women have. You have to learn how to be a father before you even become a father, from a very young age. It's necessary to override what we're told in society a father should be, like if your son falls and scrapes his knee, you got to be tough. Baseball and all that are cool, but it's the tenderness and interactions that are really important. Boys are different; we have to impart that sensibility and that tenderness to them.
Most of the early Christian writers thought the text "I and my Father are one," was to be understood of an unity or harmony of disposition only. Thus Tertullian observes, that the expression is unum , one thing, not one person; and he explains it to mean unity, likeness, conjunction, and of the love that the Father bore to the Son. Origen says, "let him consider that text, 'all that believed were of one heart and of one soul,' and then he will understand this, 'I and my Father are one".
Its a rare thing when a father and son can share the same experience. My father and I have seen all 19 Bond films together, two or three times.
When the father dies, he writes, the son becomes his own father and his own son. He looks at is son and sees himself in the face of the boy. He imagines what the boy sees when he looks at him and finds himself becoming his own father. Inexplicably, he is moved by this. It is not just the sight of the boy that moves him, not even the thought of standing inside his father, but what he sees in the boy of his own vanished past. It is a nostalgia for his own life that he feels, perhaps, a memory of his own boyhood as a son to his father.
Baseball always gets credit for the foundational part of masculinity - the father thing. The eternal game of backyard catch, 'Field of Dreams', the Ripkens, the Griffeys, the Bondses, so on. But football is the real paternal game, because it's a conveyor belt of father figures, in the form of coaches.
Modernism was a big thing for me, coming from a father who was very interested in art, music and culture - and almost always Italian art, music and culture. One good thing about Italians is that culture is part of everyday life. But Modernism is a movement of the past. The idea of a Modernist building as a sculpture set on a pedestal of grass is a part of Modernism that I'm not so crazy about.
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