A Quote by George Eads

There are a lot of times that if a detail in a scene or a beat, feels unnatural, they'll allow me to explore another direction to go until we're all comfortable with what we are doing.
The dramas for me allow me to explore more behavioral, deeper psychological things. But the comedies obviously allow me to explore the idea of really working off other people. I'm having more fun doing that.
You know, I've had a lot of rewarding interviews. And, a lot of times, it's the connection you make with the family of the victim, or near-victim, or somebody who spills their heart out to you for the first time. And often times, it's somebody who's watched my shows and feels comfortable with doing it.
Sometimes I try to beat other people's achievements but on many occasions I find it's better to beat my own achievements. That can give me more satisfaction. I don't feel happy if I am comfortable. Something inside me pushes me when I get comfortable. It makes me go farther and I want to keep pushing.
There are times when I have started a work with an end in mind, but then, for one reason or another, as my picture unfolded, it emphatically suggested another direction... I always accept the risk and go for it. I'm convinced that at such times my painting is wiser than I am.
I had to do a lot of work and allow myself to go places that were a little scary. You know when you play a guy like that it allows you the freedom to explore really weird parts about you. And it's OK. In order to really get it, I've got to allow myself to go there.
A lot of times, when I record with a group, I'll stay after class for another hour or two and go, 'Let me try a bunch of things I was thinking of, as you were doing that.'
When you audition for shows in Hollywood, you go in, you do your scene, maybe you get an adjustment. It's sort of easy, and a lot of times it just feels sort of rote and simple. Whereas when you go to New York and you audition for plays, you walk out sweaty and intimidated and nervous and doubting yourself as an actor.
As an actor, I've grown considerably. It's taken me years to get comfortable doing a romantic scene and dancing on stage in front of a live audience. I've really opened up a lot.
Without going into too much detail, the end of my major action scene, after the climax of the scene, there was one little change that I suggested regarding the way things should turn out. It was in the detail of the tears of blood.
As an actor, I've grown considerably. For example, it's taken me years to get comfortable doing a romantic scene and dancing on stage in front of a live audience. I do it a lot better than I ever did. I've really opened up a lot. And I'm glad I have because I'm being appreciated for it.
You don't get music in your daily life, do you? Even in a movie, it's unnatural to have music. I always feel it's unnatural. But I want to make it not unnatural, to construct reality in another sense.
Conforming happens so naturally that we can forget how powerful it is. But the thing that makes us human are those times we listen to the whispers of our soul and allow ourselves to be pulled in another direction.
It's always nice for me to get to explore somebody who's feeling that and then does something with it and takes it in a different direction or does something with it. It feels very powerful. It helps me with my own.
I went to Europe three times, I read dozens and dozens of books, I studied thousands of photos. But I always supplemented that research with imagination; research might give you detail, but imagination supplies the direction in which to apply all that detail.
A lot of times nerds are really artists listening to the beat of another drummer.
A comedy scene can't really have two weirdoes in it. It doesn't make any sense that way, so you need someone to ground it and call out what's unusual about this person and this scene. Early on, I got pretty good at doing that, and I felt pretty comfortable doing that.
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