A Quote by Jake Johnson

There are some similarities, I think, with all the characters I play. I'm not a guy who sees the desire to transform with each part; I'm not a piece of clay. — © Jake Johnson
There are some similarities, I think, with all the characters I play. I'm not a guy who sees the desire to transform with each part; I'm not a piece of clay.
I'm not a guy who sees the desire to transform with each part; I'm not a piece of clay.
Some people seem to think football is like theatre and that everyone has to play the good guy. But I think that you transform when you cross the white line: you're not the same person as off it.
I think it's fun to play on hard courts, you know. I think it's a surface that also can suit my game even though this year has been mainly clay, clay, clay all the year.
If you look at everything I've done, each character is so wildly different from each other, and that's what "The L Word" afforded me the opportunity to do. I want to continue to play characters that are not like me at all, and transform.
I used to subscribe to Nintendo Power. The first issue had 'Mario 2,' and it had all the characters rendered in clay. So I started making all of these characters out of clay.
Each morning sees some task begin, each evening sees it close.
Part of the success of the show is that the audience sees themselves in the characters, becomes the characters. The more they inhabit the characters, the more they see.
Part of the success of the show is that the audience sees themselves in the characters, becomes the characters. The more they inhabit the characters, the more they see
They're each on separate coasts but I think that the deep Maine woods shares some similarities to the Pacific Northwest.
As Danton sees it, the most bizarre aspect of Camille's character is his desire to scribble over every blank surface; he sees a guileless piece of paper, virgin and harmless, and persecutes it till it is black with words, and then besmirches its sister, and so on, through the quire.
A play is a parenthesis that contains all the material you think has to be contained for the action of the play. Where do you end that? Where the characters seem to come to a pause... where they seem to want to stop - rather like, I would think, the construction of a piece of music.
We need some imaginative stimulus, some not impossible ideal such as may shape vague hope, and transform it into effective desire, to carry us year after year, without disgust, through the routine-work which is so large a part of life.
Before 9/11, I was playing a wide range of characters. I would play a lover, a cop, a father. As long as I could create the illusion of the character, the part was given to me. But after 9/11, something changed. We became the villains, the bad guys. I don't mind to play the bad guy as long as the bad guy has a base.
It is part of the poet's work to show each man what he sees but does not know he sees.
I think I am a complete player. I can play well on all the surfaces. For me, the clay might be easiest, but I am not a specialist on clay.
Each morning sees some task begun, each evening sees it close; Something attempted, something done, has earned a night's repose.
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