A Quote by John Lithgow

The way I approach acting when there's a real life character, it's sort of like a Venn diagram. What I come up with is some amalgam of the two of us. — © John Lithgow
The way I approach acting when there's a real life character, it's sort of like a Venn diagram. What I come up with is some amalgam of the two of us.
Getting up and drawing a Venn diagram is a great way to appear smart. It doesn't matter if your Venn diagram is wildly inaccurate, in fact, the more inaccurate the better.
When someone on screen portrays a character that behaves in a way you don't expect, you're subverting ideas. So if there's a Venn diagram between why people are drawn to the characters I play, it may be that. But I'd like to think that the craft of acting and the choices I make as an actor are drawing people on their own merits.
The overlap in the Venn diagram of things that men hate for women to wear and the things that I love to wear, it's almost a full overlap on the Venn diagram, which is unfortunate for me.
My whole background is character acting: weird costumes, fat suits, playing men, playing animals - I've never played anyone with whom there's any overlapping Venn diagram.
It's like a Venn diagram of tragedy.
For me as an actor, you always sort of want to bring yourself to a character in some way. You want to find a way to approach something in a way that's real and interesting, and also so there's some empathy there.
I didn't think the worlds of theater and basketball intersected. I thought the Venn diagram would be one person: me. As it turns out, there are a few of us.
I think there's an extraordinary overlap between - sort of philosophically, and even in terms of their supporters - between Ted Cruz and Donald Trump. And that is not a part of the Venn diagram that I relate to or identify with when it comes to being a Republican.
The Venn Diagram of boys who don’t like smart girls and boys you don’t wanna date is a circle.
I'm not a trained actor. I have neither read acting books nor gone to acting school. But I have certain fundamentals on how I approach a character; the basic skeleton of my preparation is based on observations from real life.
I didn't grow up with my mother, and so losing her for real was like, some sort of latent childhood, some sort of unresolved issue. When she left for real, it was sort of like, I was done.
I'm quite an odd little part of the Venn diagram. I'm not a movie star and beautiful in that way. I do an odd thing that's funny and sad, and my face and my old body can take that.
After 'Prom Night' I did two movies where I was playing a prostitute. I gravitate towards characters that have some sort of inner turmoil or some sort of character arc. That's the great thing about acting, so many different things and being really diverse in your choices.
Broadly speaking, there are two kinds of acting: character acting and lead acting. And in my life, to begin with, in the 1980s, it was all character acting. And then when, by fluke, through 'Four Weddings', I got into doing lead parts, it's a completely different thing.
That character in Solitary Man is probably most like me in real life: a solid person who has a good head on her shoulders and is very driven and practical, and not afraid to set boundaries. That's sort of my center. I come from the same place as the character in Solitary Man.
I'm only 13, so I can't say "life experiences." So, basically, I had to... act! I had to make up character that is very old. I guess that's why they call it acting - you do draw from some stuff in your life, I guess, but it's not real life. You have to fake it.
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