A Quote by James Randi
There's something about the Houdini act that is not always made clear - about the escape act in general.
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The sexual act - thinking about the sexual act, the telling about the sexual act, after the sexual act, is so much more important than the actual sexual act - just in time. It's like of the whole sexual act, you probably spend 95% of the time thinking about it, talking about it afterwards. The actually sexual act, especially when you're 17, is minutes.
I'm an actor that loves to eat on camera. I love it. Something about the act of eating means that you actually can't act as much. You have to be involved in the very real task of trying to ingest sustenance without choking and dying. Something about that process takes the heat off trying to act and often feels more natural.
Something about photography is tied to a very specific relationship with the material world. It doesn't have to be, but the way I practice it, it is. So there's an act of observation, but it's not an act of objective recording. It's about framing something and seeing it and understanding that it's relational.
Escapology has one thing going for it that probably made Harry Houdini such a superstar in his day and a legend in the present. Everyone wants to escape from something. Taxes, contracts, illness, work, the multitude of burdens that we chafe under are shadows from which we want to escape.
I'm pretty transparent and clear about things. The things I do and the way I act are no different than I would expect of others. Mostly it's about being very clear about what we are trying to do and communicating a lot and showing absolute consistency and integrity about what I say and do.
I went from everyone saying, "She-can't-act-she-can't-act-she-can't-act," to an Oscar nomination. So there was something quite sublime about that!
Making dances is an act of progress; it is an act of growth, an act of music, an act of teaching, an act of celebration, an act of joy.
To some extent, the act of creation and the act of selling are hard to disentangle. If you create something, whether it's a painting or a company, I think if you care about it, you have some obligation to go out and tell people about it.
There's just something "off" about equating the act of spending three years writing a book with the act of someone exploiting themselves by drunkenly flashing the camera for "Girls Gone Wild" or something.
There's just something about being on stage and being with the people that, once that camera turns on, you find the strength to keep it cool, look good, act like you're not cold, act like you ain't nervous, act like you aren't scared. I think that comes with confidence and practice.
There are many, many nouns for the act of looking - a glance, a glimpse, a peep - but there's no noun for the act of listening. In general, we don't think primarily about sound. So I have a different perspective on the world; I can construct soundscapes that have an effect on people, but they don't know why. It's a sort of subterfuge.
This act [creation], as it is for God, must always remain totally inconceivable to man. For we--even our poets and musicians and inventors--never, in the ultimate sense make. We only build. We always have materials to build from. All we can know about the act of creation must be derived from what we can gather about the relation of the creatures to their Creator
Broadly speaking, the problems with the Espionage Act are that it is hopelessly broad. And we tend to use the Espionage Act - we think about the Espionage Act as forbidding disclosures of classified information. That's not really what the statute says. What the statute talks about is information related to the national defense.
When I'm doing an exaggerated character, I hope it's clear I don't think this is how women do, or should, act. There's aspects of Looney Tunes in drag. But there's something poignant about a man dressed as a woman, talking about gender. It can make you realize how similar the genders really are.
Young actors ask me for advice. They say, 'Should I get an agent?' I tell them, 'Don't worry about that. Act, act, act. Get into that production of 'The Three Sisters' in a church basement. Consider every audition a chance to act, even if it's just for three minutes. Just do it whenever and wherever you can.'
There is something about the mental act of thanksgiving that seems to carry the human mind far beyond the region of doubt into the clear atmosphere of faith and trust, where "all things are possible."
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