A Quote by Gail Godwin

Actors between plays are like ghosts looking for bodies to inhabit. — © Gail Godwin
Actors between plays are like ghosts looking for bodies to inhabit.
An actor is looking for conflict. Conflict is what creates drama. We are taught to avoid trouble [so] actors don't realize they must go looking for it. Plays are written about...the extraordinary, the unusual, the climaxes. The more conflict actors find, the more interesting the performance.
(What are your ghosts like?) (They are on the insides of the lids of my eyes.) (This is also where my ghosts reside.) (You have ghosts?) (Of course I have ghosts.) (But you are a child.) (I am not a child.) (But you have not known love.) (These are my ghosts, the spaces amid love.)
People like to think that actors are terribly worried about ghosts of other actors in the parts they play. But you just have to get on with it.
I often daydream about the future, thinking of the world in 100, 200 years, imagining what it looks like, feels like. I hope that my books are like ghosts that will inhabit this future.
The movie Fifty Shades of Grey is considerably better written than the book. It is also sort of classy-looking, in a generic, TV-ad-for-bath-oil way. Dakota Johnson, who plays the virgin English-literature major Anastasia Steele, and Jamie Dornan, who plays Christian Grey, the wildly rich and sexually particular business titan who wants Miss Steele in his playroom, are exceedingly attractive actors with enviably supple bodies well suited to nakedness. And really, under the circumstances, movable parts matter more than acting skills.
This is something particular to actors, especially in plays, and in films, too - but in plays, it's like, don't get involved with anyone in the play.
There's not a lot of talking between actors - either between actors or between actors and directors. People think that they sit in rooms and talk about psychology and motivations. I don't think that happens much.
Despite the digital age, there is a very large number of venues and spaces that are looking for plays, and many of them are looking for new plays.
Basically, I would like to be considered for roles that are well-written. I think that part of the problem that we've had as actors is that they insist on looking at us as Latino actors and not as actors, period.
Also, there's the caliber of actors that we keep getting. Lorraine Bracco plays my mom and Chazz Palminteri plays my father, and Brian Dennehy and Donnie Wahlberg have been on the show. And, we've got Billy Burke from Twilight. We've gotten all kinds of fantastic actors. That speaks for itself.
Why should it be thought incredible that the same soul should inhabit in succession an indefinite number of moral bodies? Even during this one life our bodies are perpetually changing, through a process of decay and restoration; which is so gradual that it escapes our notice. Every human being thus dwells successively in many bodies, even during one short life.
Whenever I take up a newspaper, I seem to see Ghosts gliding between the lines. There must be Ghosts all the country over, as thick as the sand of the sea.... We are, one and all, so pitifully afraid of the light.
Between New York and L.A., and all of us who are actors, I feel like we're just one big, cast repertory company, all running back and forth between the coasts and between different shows. There is a wealth of great character actors, who show up, here and there, on different shows. I love the fact that we're allowed to do that.
My practice is focused on bodies and relationships; the relationships between people and other creatures, between people and our bodies, between creatures and the environment, between the artificial and the natural.
I don't even believe in magic, or ghosts or anything like that, and yet in a city like New York, on the subway, I definitely see ghosts and art seems to have some magical properties.
There are so many young women who tip over into being a facsimile: they don't really inhabit their lives or their bodies.
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