A Quote by Ellen Page
One of those things where immediately when you started reading it, you knew it was something special and then the more you read, the more it surprised you, and the more you realized it was devoid of stereotype .
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Once I hit 25, I realized I had to do more than just be an actor. I love acting, but there's something that makes it difficult to just be a man, a grownup. Not to take away from any actors, but I knew I wasn't going to be Tom Cruise. I knew I was a character actor, which is great and I'm proud of it. But I knew that I wanted to do more. I started producing and directing and writing and stuff for the theater, and then that grew out of hand and I sort of lost my control. I've always loved the process of filmmaking. Now I'm much more into producing docs, but I want to direct features.
When I was a kid, I read many more Marvel comics than I did DC. As I got older, in high school and then in college, I started reading more DC.
And then as we played more and more as a trio, it became more and more of a situation where we realized we really knew how to use the fourth member of the group - that space. The thing about the trio is that it's the biggest sound you can have with the smallest unit.
I was focusing on sax while at Berklee, but then I started to play Brazilian choro and Colombian music. I was doing more folkloric stuff on the clarinet because it works better. Finally, I realized I was working more on the clarinet than the saxophone, and I started to feel more comfortable on it.
[When] Johnny Mnemonic was coming out and I realized that all the kids that worked in 7-11 knew more - or thought they knew more - about feature film production than I did. And that was from reading Premiere, that was from this change that came from magazines that treat their readers as players. Magazines that purport to sell you the inside experience.
I was always telling myself I could handle a more complex role, I could handle something bigger and more interesting than the work I was doing. But I wasn't demanding that of myself. At a certain point, I realized it was never going to come my way unless I started taking more control of it. That's what I realized I had to do.
When I was 12 there was a big shift in mindset and I realised that if I want to get something out of it then I need to work hard and focus all my energy just for this sport and that's when I started training and taking things more seriously. I became a lot more self-critical and analysed the driving more and more, and that was when I was 12.
Reading 'The New Yorker' - I start on the last page and go backwards, reading all the cartoons. Then I read 'Shouts and Murmurs.' Then I read the reviews. Then I read the articles that immediately appeal to me.
I'm more thrilled by the short fiction than I expected to be. I've found more pleasure in reading short fiction than I used to. By seeing what kinds of thinking are going on in short fiction. I was also surprised by the panic I've felt, especially at first, when we'd put an issue to bed and then realized we had to put another one together.
As a teenager, I read a lot of science-fiction, but then I read 'Catch-22' and 'The Catcher in the Rye' and started reading more literary fiction.
When I was talking a lot of trash, a lot of the guys knew that when I started getting serious was when I started getting a little bit quieter. If I started locking up somebody, then I'd start talking even more and I'd talk more aggressive. But once I stopped, they knew I was really serious.
I never stop reading. I read everything, and I read every day. If you never read anything, be curious. Curiosity is the true foundation of education, reading things that we've factually already agreed on, and I love reading books. With that said, it's more important that you ask the question 'why.'
I am not interested in things getting better; what I want is more: more human beings, more dreams, more history, more consciousness, more suffering, more joy, more disease, more agony, more rapture, more evolution, more life.
If I'm reading something I happen to know and gets it wrong, I just don't trust the book any more. What I ask of a novel I'm reading is that it should know a fraction more about the things I know than I do. When I'm writing...I ask myself: would I be convinced by this if I read it? If I knocked against this bit of scenery, would it feel solid?
I was at the breakfast table this morning and I read in the newspaper that more and more adults are living at home with their parents. That surprised me, I was like Mom did you read this?
I fell into makeup by accident, but I found my love for it, and once I realized that I could actually turn it into a huge business, that's when I started taking it a little bit more seriously, but it's always something that I knew could be something.
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