A Quote by Jason Moore
I'd never been around a capella or really knew much about it. I feel like I know a lot about music, but what I didn't anticipate is that when every actor has to sing a different part and then do all their choreography on the same beat or on the same word, it's really hard.
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And then I saw him and nothing was ever the same again. The sky was never the same colour, the moon never the same shape: the air never smelt the same, food never tasted the same. Every word I knew changed its meaning, everything that once was stable and firm became as insubstantial as a puff of wind, and every puff of wind became a solid thing I could feel and touch.
You can't sing about the same things as you did when you were 20; it would be ridiculous to sing about, I don't know, being in the quad. You can't really write about mortgage payments or stuff like that... but you can talk about 'let's make the world a better place.'
I know for myself my big, long friendships they don't have the same problems any more, but they also-when you get together you often times just have a drink and watch football together. You're not really talking about everything so much the same way. You just need to be around each other, and yet you can look at each other and so much is said just between those minutiae- it's totally subtle is really what it is. I felt like that, you know, a life that's been so totally dramatic then becomes beauty in the fact that it's just so small.
I think I'm a better actor now. I mean, I really think I know a lot about acting now. But I didn't know a lot about acting then, in 80's, and I never knew how to be myself. I never knew how to relax and just play it from me. I was always trying to deliver a line.
I have a gut reaction to stuff that I read. Either it's a filmmaker that I really want to work with, or it's a story that I really want to be a part of and help serve, or there's a character that I feel I can bring something unique to. That's really what it's about. I would go crazy, if I just relied on the same tricks and did the same thing, all the time. It was just be no fun, at all. I really do need to try something different, every time out, and do something that scares me, a little bit.
I just remember lot of men running around in little tiny gold shorts! The format - it was kind of hard. You really have to know about pop culture and I'm not really knowledgeable about a lot of those things. I know what I like. They'd ask about Gwyneth Paltrow, and I don't know anything about her, except her mother. I know who her mother is. So you really have to be current and relevant.
Being on the road, because you do so much waiting and so much traveling. It's not the same thing as being in the same city for a week or two weeks and then another city. It's really hard. I don't think people understand this about being a touring musician, or a touring actor, or somebody who flies everywhere for business. It's incredibly disorienting.
I think what Laura Linney was saying about teaching her all the lessons as a child actor, right, that's a whole ball of wax. That's a really mixed bag of stuff. I look at so many people that I knew personally or didn't know personally but who have ended badly, have died young, have been destitute - there are a lot of bad child-actor-gone-wrong stories, a very high percentage, but I think the thing about it is that a lot of those are Hollywood stories, and you don't have that same kind of a thing in the theater.
I knew Bill Cunninghamn personally, in the way that most people know him - you don't really know that much about him. So I had never been in his apartment, as most people hadn't. I really had no idea how he lived. I knew he lived in Carnegie Hall, but that was it, and I didn't really understand. I knew that he worked hard, I just didn't realize that that was what he does, that's basically all he does
I write music as a staff writer for Universal Music Group, and I have since 2007. I've never talked about it publicly because I wanted to earn the right to be in the same room as the great writers I write with and not shoot my mouth off because I'm an actor. It's really important to me, and I really care about it.
I knew I wasn't going back to Brooklyn... I never knew exactly. I just kinda - you work with these guys every day. You see the same players, you see the same coaching staff, you see the same trainers every day. So when they start to act a little different, you recognize it... I could feel it.
Remember the first time you went to a show and saw your favorite band. You wore their shirt, and sang every word. You didn't know anything about scene politics, haircuts, or what was cool. All you knew was that this music made you feel different from anyone you shared a locker with. Someone finally understood you. This is what music is about.
Clark Gregg and I are around the same age. He has been an actor and is a writer. But with a first-time director, there is a way to talk about things they might not know. Because Clark was an actor, though, he knew more about the process than most first-time directors.
I guess I think like deep inside, I know that it's like, it's a different kind of performing, it's not really... You're not performing like a guitar player or a singer is performing, you know what I mean? So it's weird to be in the same type setup as one of those. 'Cause I'm not really doing much, you know, like technically it's not that hard.
Even people that know Johnny Cash's music really well and know that he was married don't really know that much about June Carter. So finding out about her really helped to inform my performance and to bring her to the front in a way that she has never been before.
My perspective on life is now to try to play music that reflects that life and death are part of the same coin. And to know about life, we must really examine the function - like death. Life tells you a lot about what death is, not what people say it is.
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