A Quote by Frank Langella
Sometimes you have to get out of your own way as an actor. Young actors tend to over prepare sometimes and over think it. And actually there is nothing wrong with walking on a set with an empty brain and then on action allowing your adrenaline and your trust in yourself to take over.
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You want to know what it's like to be on a plane for 22 hours? Sit in a chair, squeeze your head as hard as you can, don't stop, then take a paper bag and put it over your mouth and nose and breath your own air over and over and over.
If your primary focus is to get over your health problems or get past a relationship crisis so that you can return to your former life and old patterns- that is, get back to business as usual-you are not really living. The distinction is paradoxical and sometimes subtle. It's the difference between walking through your life on your way to somewhere, and walking as your life. Even if you believe that where you want to get is extremely important, that destination is secondary. Your immediate experience is what really matters. It is your life.
Just trust your instincts. There's an old saying in golf, you've studied the swing many times, and you practice and practice, but when you stand over the ball, you just have to trust your swing. And you trust it. And if you don't trust it, you'll ruin it; your brain will take over.
Watch over yourself. Be your own accuser, then your judge; ask yourself grace sometimes, and, if there is need, impose upon yourself some pain.
The best time to tell your story is when you have to tell your story. When it's not really a choice. But then, when you get that first, messy, complicated version down, you have to read it over and be very tough on yourself and ask, 'Well what's the story here?' If you're lucky enough to have someone you trust looking over your shoulder, he or she can help you if [you] lack perspective on your own story.
So much of comedy happens between your chin and your shoulders. Nobody tells you when you get your own TV show that you're going to watch yourself in the edit room over and over and over again. It's a tough lesson.
As soon as you direct such a question outward to your fellow man and not inward to yourself, you have set yourself on a judgment seat and thereby judged yourself. You have robbed yourself of what you had won by your own continence; you have taken one step forward but ten backward: and then you have reason to weep over your obstinacy, your failure to improve, and your pride.
Sometimes in T20, you need to bowl only one over, and once the captain has given you that one over, irrespective of whether it is good or bad, that one over is out of the equation. That actually helps you, that one over. By the time the batsman figures out what you are trying to do, you get rid of one over.
As an actor on a film, you have no control over the final product - your job is to make a director's vision come true. So, you need to have total faith in them and add your own creativity and opinions and energy, but you have to really give over responsibility, and sometimes that can feel terrifying.
I believe you make your own luck. My motto is ‘It’s always a mistake not to go.’ So I jump on the airplane, try new things—sometimes I get in way over my head, but then I think, I’ll work my way out of this somehow. A big part of making your own luck is just charging out of the gate every morning…The thing I love about living in New York is that I never fail to get up in the morning and think, Something adventurous is going to happen today. The energy is operating at full throttle all the time. And if you want to be lucky you’ve got to go out and take advantage of it.
You can come from a family of actors, and sometimes there have been families that grow you up as an actor, but this wasn't my situation. It's very important to find your own way because it's something you then have to confront yourself. You're not going to be asking your parents.
One of the things that I'm realizing is that in voice-over work, you have to actually do more work with your facial muscles and your mouth. You have to kind of exaggerate your pronunciation a little bit more, whereas with live action, you can get away with mumbling sometimes.
Sometimes I have a nervous breakdown over my suitcase - over socks - because your brain just goes, 'I just can't pack again. I can't.' You're looking at your suitcase going, 'I'm in five countries in two weeks, and it's four different seasons.' That's when my brain melts.
Nothing has a more sinister effect on art than the artist's desire to prove that he's good. The terrible temptation of idealism! You must achieve mastery over your idealism, over your virtue as well as over your vice, aesthetic mastery over everything that drives you to write in the first place - your outrage, your politics, your grief, your love!
I have a tradition of working with actors, over and over again. I've worked with Jason Bateman, over and over again. You get to know an actor, and you get a certain trust and a comfort, and you become really good friends, and you feel like you've got a short-hand.
I trust in my inspiration, really, and that's difficult because sometimes you would rather be technical. And once you empty your mind, empty your brain, it's really incredible. I'm very caring about things that dash into my brain, and I make sure I don't just clog it.
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