A Quote by Freja Beha Erichsen
I've had times where I'm like, "Whoops, maybe I shouldn't have done that." But, you know, it does grow out fairly quickly, so it's not the end of the world. If you really mess up, you can always go to somebody who knows what they're doing and have them try to fix it.
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You know you have that zealousness of the young person that feels like you can go out and do it all. You know you save the world, save your gente, save women and before you know it if you try to do that you will burn out very quickly. My feeling is that I always think that and my advice to young people regardless of what times in these decades we've been living in there's always work to be done. The point is what can you do personally that you can live with so that you can get up the next morning and have the strength to start it all over again.
I don't know the answer. Maybe no one knows. Maybe when you grow up, you'll be the first to find out.
I really don't make a concerted effort to try to find a type of role. Maybe I've just done enough of them now where people are like, "Oh, it's the guy that's in a swirling vortex of despair, send it to Kinnear!" I don't really know, but it does seem to be a recurring theme.
I really don't make a concerted effort to try to find a type of role. Maybe I've just done enough of them now where people are like, 'Oh, it's the guy that's in a swirling vortex of despair, send it to Kinnear!' I don't really know, but it does seem to be a recurring theme.
I learnt fairly quickly that that was what I wanted to be - a guitarist - because it was the first thing I ever done in my life that really felt like it was something that I belonged to. I don't know... from the moment I picked it up it felt right.
That's the sad thing about it, is that you don't know. And you certainly don't know when you quickly meet somebody. But even as you know somebody longer, it's really hard to know. Obviously you go on your gut feeling but that can be wrong too. ANd it's terrible to have to be wary about people, because it is not my nature, but I've been burned a few times and you just have to careful.
If it was up to me, I would be given ample time to do a full on performance. I would play all of the instruments that I can play, really show off to the world, then maybe have an Intercontinental title match and follow that up, maybe go out against somebody like The Undertaker or John Cena, anybody that can really top off a great performance.
When I use a polish, I end up changing my nail color 2.5 times a week. The '.5' is when I get them done and notice it's not perfect - I'll fix it myself.
I gotta big mouth, I can't help it, I talk from my heart, I'm real, whatever comes comes. But my controversy problem, it's not my fault, I try to find my way in the world you know, I try to be somebody instead of just make money off of everybody. So I go down paths that haven't been traveled before and I usually mess up, but I learn, I come back stronger.
What's bad for the culture is wack rappers that get held in high regard like they're some great thing because it's the flavor of the month, but everybody knows they can't rap. I don't think it's hard, even for somebody who's not hip-hop, to know that that's not good. When you put them up against somebody that can really rhyme, you go, "Okay, I get it. This is what it should sound like."
I try to discover the character's primary motivation. In a screenplay, you can make up a hundred different variables of a character. Is he there for love or respect, or is he there out of fear? What's he doing? Why is he doing it? Then I can build on the intricacies. Does he pick his fingernails? Does he always do this when he's lying? All the little things that come with it. But it's also like, if you're doing a caricature and you're like, "I want to do a blue-collar guy from Jersey," you have to go and do the research on the region, the who, what and why.
The most I've ever done was twenty-something, but that's wasn't because I wanted to. I feel like to me it's usually somewhere between two and- no, it's very hard to say because it really depends up on the shot, you know? If it's a complicated master shot and you know that this is the only thing that you're doing for that scene, a complicated one-er, you're going to maybe end up doing a few more takes than you normally would. But I'm not a big believer in doing tons and tons and tons of takes.
I'd buy joke books and try doing them at school; I always had jokes. That would be my go-to thing at parties: I'd be able to get through them if I just told enough jokes. Otherwise, I wouldn't end up talking to anybody.
That's one thing that's always, like, been a difference between, like, the performing arts, and being a painter, you know. A painter does a painting, and he paints it, and that's it, you know. He has the joy of creating it, it hangs on a wall, and somebody buys it, and maybe somebody buys it again, or maybe nobody buys it and it sits up in a loft somewhere until he dies. But he never, you know, nobody ever, nobody ever said to Van Gogh, 'Paint a Starry Night again, man!' You know? He painted it and that was it.
Russian people really don't like it when somebody does horrible things in Russia, and then can calmly go travel to another country and spend time there. And this is what needs to be done: the Russian people need to be told this, because in today's world, just doing something is not enough. You've got to tell about it, too. If you've done something and haven't told about it, it's as good as if you hadn't done it at all.
I don't know, maybe I just like to mix it up and have a more of an eclectic need to just try out new things and road test ideas and try out a genre that I haven't done before.
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