A Quote by Hank Azaria
I've done literally 100, 150 different characters. Some of them have only appeared for a line or three. But the point is, every sound I can make has been harvested.
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I've done literally 100, 150 different characters.
There's two or three kids out there trying to make good music, and the rest of them sound like it's been strained through some kind of white toast or something. It all sounds just too neat and perfect, with no surprise to it at all. No story, no nothing. It's like building cars, like an assembly line. It doesn't sound like anything that came from a guitar.
I usually base my characters on composites of people I know. One trumpet player in SIDE MAN is really a mix of four different guys I knew growing up. Patsy , the waitress, is a mix of about three different people. I like doing it that way. I start with the characters, as opposed to plot, location, or some visual element. I write more by ear than by eye. I always work on the different sound of each character, trying to make sure each has a specific voice and speech pattern, which some writers could care less about.
The only sci-fi movie that I've ever been offered that, had circumstances been different, I would have definitely done, was 'Avatar.' And I literally couldn't do it because of my schedule. But listening to James Cameron talk about 'Avatar' was so fascinating. Because he literally invented the world in his mind - and it literally existed.
I firmly believe, only because I've been doing this for so long, every show takes three years. 90% of them don't get three years. It just does. It takes a long time to build a community, build a friendship with your characters. It's hard for people to grasp on and make them care about you.
I don't think music affects what words I choose to type in what order, within what punctuation, at this point, because I'm rereading and editing each sentence, at this point, in my published books, probably 100-150 times each, on average, and listening to probably 20-60 different songs in that time.
Yeah, with 'NASARATI,' that was my first project. I really worked literally three days on it, writing on the beats and putting it together. I'm not saying that I don't love the mixtape, but it was really my first, first move in rap. I tried to make sure everything sound different, so you hear no two songs and think they sound alike.
I say with pride that I've done over a hundred voices or something, and some of them may have only had two or three lines, but I literally never ran out. I think I'm a bit of a savant that way. I kind of remember every voice I hear, famous or otherwise, and can imitate it pretty fast. I've enjoyed mimicking people famous and not famous all through my life, and they kind of remain in the memory banks, so I'm ready to trot them out.
You never have enough competition at any position, ... Several of the players listed at right wing have played center in the NHL, like Trevor Linden. Some can play both wings. I've been skating on a line with the Sedin twins. They are a lot more skilled than some people give them credit. Look at their point totals and they are right up there in their point-per-minute averages. My job will be to complement them and try to get our line to provide secondary scoring behind the big line of Naslund, Bertuzzi and Morrison. Those guys look good and I expect they'll be the top line in the NHL again.
I like complex characters. I've been very, very lucky to portray, in these past three years, characters that are strong and fragile at the same time. It's those characters that I'm looking for. In the last year and half I played three different religions, and that allowed me to educate myself so much.
Well, it's been an interesting career. Since I last appeared on 'Top Of The Pops,' I've been doing about 150 live shows every year. The live shows have always been well received and they consistently worked, it's just the records that haven't been very good.
I'm completely surrounded, not only my father, but also my three brothers, and Sergio, my husband, all four of them work in film. Some are writers, or directors, or cinematographers, all of them. I'm surrounded by men that make films, so much that at some point I felt there was no more room in the family for another filmmaker.For many years I was only working as novelist or writing screenplays for others to direct.
It's always difficult with the superhero stuff because you're working with characters who have been written by 100 to 200 people over the past 20 years, at least, so they never sound the same or act the same. The best approach is to try to draw the best fitting line through all of the interpretations.
I went out to testify in front of the Ways and Means Committee out in Congress on open free trade to China. Now, this would affect literally every Minnesotan in some way or another, if not all Americans in some way or another....The local media sent no one out to cover my testimony....Well, then a couple weeks later, I go out to do The Young and the Restless, the TV soap opera, and everybody sends crews. We had to move them into a room in three different sections or three shifts of them because there was so much media covering that.
Any working cartoonist will tell you this, anybody who's working in a creative field: at some point, it's a job. You have deadlines. I think, for over a year, I refused to make them for publications, because I only wanted to make them when I wanted to make them. But at some point, I was like, "This is crazy, you have an opportunity to be a professional cartoonist.
I have made 34 pictures, 10 of them for Disney, and none of them for Disney were really bad characters. So I think that recently I have kind of begun to hide behind certain actor's devices in order to make a dividing line between what I used to do and the characters I have been asked to do today.
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