A Quote by Jaimie Alexander
I'll say this, I'm no stranger to working with a foreign cast, foreign directors, that sort of thing. I love it, because I think that when you have people from different countries, it sort of brings everyone together, it's more of a worldly film.
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I think, because of my background, which is slightly more exotic than the average British actor, I think, I sort of occupied this little niche quite early on of playing the foreign guy. It started way back at drama school, I played an Eastern European heavy, I played the Russian mobster. And I have done all those different ethnic roles, and I think it's partly because of my look, I think I've got an adaptable sort of nondescript ethnicity, which you can't quite pin down, but it's enough to kind of get a flavor of something.
Everyone is used to speaking a slightly different "language" with their parents than with their peers, because spoken language changes every generation - like they say, the past is a foreign country - but I think this is intensified for children whose parents also grew up in a geographically foreign country.
I used to play a lot of foreign women in my youth because I was prettier then. I would go for interviews, and directors would look at these sultry, exotic looks, hear this clipped accent and think the two don't go together. So they would give me a foreign accent.
The more foreign to me, to my existence, to your core existence, the more foreign the foreign language, it's really moving to me to think, to get to experience my own story crossing those boundaries. To have that experience that I so cherished as a reader. I can't believe this. To me, it's really nice because that would be a thing where I'm like, "There may be lots of Jews in my work. I'm not writing stories for Jews. I'm telling stories about people, and Jews are people, too."
I was thinking about being more global in my work, which means trying more foreign countries and working with foreign filmmakers, hoping they would give me a new take on my work, a new point of view, reinvent me in some way.
LGBT people are really convenient: we're sort of the ultimate foreign agent in Russia. There's no doubt in anyone's mind that the values that affirm nontraditional relationships, that affirm feminism, come from abroad. If you've established - and this isn't up for discussion - that foreign agents are bad, and foreign influence is bad, and the West is our enemy, then there's no better expression of the West's influence than gays and lesbians.
'Sort of' is such a harmless thing to say... sort of. It's just a filler. Sort of... it doesn't really mean anything. But after certain things, sort of means everything. Like... after "I love you"... or "You're going to live."
Foreign policy always has more force and punch when the nation speaks with one voice. To remain secure, prosperous, and free, the United States must continue to lead. That leadership requires a president and Congress working together to fashion a foreign policy with broad, bipartisan support. A foreign policy of unity is essential if the United States is to promote its values and interests effectively and help to build a safer, freer, and more prosperous world.
I know that's the sort of thing people say and I really hate it when people say the sort of things people say. I always think, 'You don't mean that, you just think it sounds good.
But it's been funny to try and carry the through line, but I think the main thing is the relationship that the band has because we have spent now all this time together that I think that's sort of what we returning to. And whenever we get to play together, it still sort of returns to that little shitty rehearsal space. So that's good.
My theory is that everyone at one time or another has been at the fringe of society in some way: an outcast in high school, a stranger in a foreign country, the best at something, the worst at something, the one who's different. Being an outsider is the one thing we all have in common.
I think that T.V. shows are more like working at a home. You know you're going to the same place every day, working with the same people, the same cast and crew. You're in a dressing room instead of a trailer, so I think that that's more of a normal sort of lifestyle.
The key is working with great directors. A film is so many different people and all their talents, but particularly the directors, because of the idiosyncrasies of that person.
I think part of the reason I'm attracted to Foster is because he's such a mess. I mean, the people I have loved in my life have never been easy to love. I'm not used to normal. I'm used to disaster. I don't know, as messed up as he is, he's also sort of exciting, sort of a challenge. I'm accustomed to working for love.
You know so many documentaries now are very carefully scripted before you start, and then people are sort of put in chairs which are beautifully lit, and they tell their stories and you do that with another 10 people and you then construct a story from what they say. You do a sort of paper thing, and then you put some images in-between, and that's your film. And that's so not what I think is a good documentary. It can be so much more than that, it should be much more of an adventure and much more uncertain... like real things are.
Foreign trade is not a replacement for foreign aid, of course, but foreign aid to a country that doesn't also engage in significant amounts of foreign trade is more likely to end up in the pockets of dictators and cronies.
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