A Quote by Jerrod Carmichael
As a standup performer, I'm onstage, and it's important how the audience is looking at me. I'm looking at whether they're leaning forward or not, those types of things. You read an energy. And it's the same thing in a scene with other actors.
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It's difficult to judge other actors, because as an actor you're looking at different things than what an audience is looking at.
I don't find it hard to direct myself. I can easily think of me as a horrible performer or a good performer. I work with actors who cannot stand watching or looking at themselves, which is not my case. I can have an eye and perspective on whether I'm terrible or good enough for me.
There are actors who make no decisions about how to play something until they're in the moment, looking into their scene partner's eyes. So they're completely available for whatever happens. And those are actors who tend to avoid getting into patterns.
You know how you feel somebody looking at you, and you turn, and somebody actually is? It's the same at an art gallery. You're looking at one portrait, turn around, and there is a work of art directly behind you. Because it's all energy. Every single thing has energy.
In my experience, people looking for progress aren't actually looking to move things forward. They're looking to be perceived in a certain way: as a forward thinker. It's about vanity rather than any altruistic motives for the art.
I can't wait for both my daughters to be old enough to read all my books. I loved it every time I saw my parents acting like more than just my parents. And I'm looking forward to that with my daughters too. I am looking forward to having them discover me as someone completely other than their mother.
When I was doing 'All in the Family,' half the time, I was looking at where the cameras were, where were the other actors in the scene, what the audience was doing.
You're just looking for the thing that makes this scene sort of imperative, why you have to know what changes by the end of the scene so you're really looking to find the essence of it.
When you do a really good play, the audience and the performers are looking into the same looking glass, the same microscope. And the specimen they are looking at is human life and that's why I do it, that's why I like it.
Standup led me to acting because I liked standup, and I saw people on a stage, and the closest, nearest thing to me was doing plays. It was like, that's the same thing as standup - people are on a stage; they're being seen and saying things - so, because of my love of standup, I moved towards acting.
There's two types of character actors. There's character actors who play all different characters. Or there's actors who always play the same part; they're just a bit funny-looking.
Improvisation in general is good, and improvising material into themes, turning the material into something codified and repeatable, taught me scenic structure and dramatic gambits that work and things that are appealing both as a performer and an audience member, like you know, what does "want" really mean in a scene, and how do you achieve your want, and how is that expressed, and how do you achieve closure? Those are all things that I learned performing at the cabaret after just doing the same scenes over and over and over again over the years, with my own ability to change.
Perspective was always important. There are some cartoonists who can stand at the foot of a building looking straight up and they'll capture it perfectly. And then there are those of us who do the same drawing and it's the goofiest-looking thing in the world. But after a while I guess you just learn what you're capable of and what you can and can't do.
I would want a sequel to 'Kaho Naa Pyaar Hai.' But more than me, it's the audience who are looking forward to the same.
But the more I read... after awhile... I begin to find they were all writing about the same thing, this same dull old here-today-gone-tomorrow scene... Shakespeare, Milton, Matthew Arnold, even Baudelaire, even this cat whoever he was that wrote Beowulf... the same scene for the same reasons and to the same end, whether it was Dante with his pit or Baudelaire with his pot... the same dull old scene...
I will not sleep fine if Donald Trump wins and I will not sleep fine is Hillary Clinton wins. Whether you are looking at nuclear weapons, whether you are looking at expanding wars and their blowback, which will not stop as long as those wars continue to expand, or whether you're looking at the climate, in my view, we have no choice. This is an existential moment. We are deciding not only what kind of world we will have, but whether we will have a world or not. I think it's very important to get outside this box that tells us we are powerless, when in fact, we are powerful.
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