A Quote by John Maus
I really try as hard as I can on the show. If people can't see my face, if they can't see my sweat beads or at least that I'm struggling, that I'm not just pretending or going through the motions, then who can blame them for thinking that it's some kind of ridiculous piss-take?
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Granny beads are what they're called when a grandma works the garden all day - you always see them - they have a handkerchief around their neck with a lot of dust on them, and then the sweat will go down and make these black beads of sweat and dirt around their neck. And that's what they call granny beads.
When you're struggling with something, look at all the people around you and realize that every single person you see is struggling with something, and to them, it's just as hard as what you're going through.
My coach keeps telling me to say I'm not going to retire. I should just go through the motions and see what I feel every year and see if I really want to do it, but personally, I want to do it, but my coach says just take your time, don't rush.
The big problem for comic art is you don't want to overwork it. If a drawing is overworked it isn't funny. It's the spontaneity that keeps a work fresh and funny. If they can see how hard you work, if they can see the beads of sweat, it's no good. I always try to make it look easy.
I would love to have the biggest band that I can have. I'd love to put on a massive show and just give people their money's worth, then just come away from it thinking, 'That was a good show', because it's kind of disappointing sometimes when you go and see someone and you can see they're not that bothered.
I view my job as being someone who is supposed to piss people off. I don't want to be just one-of-the-guys. I don't want to be just a smiling face you see on television presenting some vapid kind of easily-digestible garbage.
I can’t see through clothes or anything. Just glamour skin. Except I can see through all of you, since your clothes aren’t real.” I stopped, horrified. “I mean, I don’t look—It’s hard to see you, and I like looking at your real face, but I don’t try to see anything, because—Oh gosh, this sounds terrible.” He had a funny look on his face, like he wasn’t sure what to think. “Huh. That’s never been an issue before. Maybe next time you could bring me some shorts.
I was teaching live drawing in a community college and students started zoning in on the face and spending a couple of hours on that and then putting the rest of the body on the face only in the last hour. It didn't work to just tell them, 'Well, you're really not thinking of the body as a totality.' So in desperation I would put a drape over the model's head so they couldn't see it. They had to draw the body and then at the end of the session for an hour I would take the drape off just to try to reverse their procedure.
It's the opposite on a sitcom. People crave the character to not learn from their mistakes. They want to just see the situation, and then see how that character is going to react to that particular chaotic catastrophe. That's just my take on it, anyway. I don't really get too hung up on what the future of the show is.
It's hard work. It's really hard work, but it's really interesting. We have this camera, I think it's called a SimulCam, and when you play it back, you can see the giant in the scene you just shot. It's incredible. You're reacting to a tennis ball that's way up there, then when you watch it, it's this huge giant's face on it. Wow. That's cool. I just can't wait to see it when it's all edited together and the special effects are all crystal clear. It's going to be, hopefully, amazing.
I'm good at using my face as a canvas… I'll see a photograph of a character and try to copy them on to my face. I think I'm really observant, and thinking how a person is put together, seeing them on the street and noticing subtle things about them that make them who they are.
Film festivals are usually unpleasant experiences on some level. The lines are ridiculous, the crowds are ridiculous, or the schedules are impossibly arranged: 'You say that there's a film you really want to see? Try the 8 A.M. show! Oh, it's too bad you didn't get to bed until 2 A.M. the night before.'
I think this is really a defining moment for the Arab world. The problem is, it is all going to be about blood, sweat and tears. In certain countries it may be just sweat, and in some countries sweat and tears, and in some countries, as you can see, a lot of blood. I think initial instability is something that we are all extremely nervous of.
When you're working as an actor, you don't think that when you get out of school, it's going to be so hard to get a job. Just to get a job. Any job. Whatsoever. You don't think that people are going to see you in a certain way. Uta Hagen said this, "In my life, I see myself as just this, you know, kind of flamboyant, kind of sexy middle-aged woman. And then I see myself onscreen, and I go 'Oh my God.'" And it's the same thing with me. I didn't see myself any different from my white counterparts in school. I just didn't!
When people get in your face and say, 'This will pass,' you think, Are they crazy? I'm never gonna feel any better than I feel right this minute and nothing's ever gonna make sense again... You see a lot of people play this blame game. Blame, blame, blame. You know? And it's a really easy thing to do, and I'm certainly guilty of it. [You have to] look at yourself and go, 'What part of this do I need to own? Which part of this is my responsibility?' And that's the painful work that you have to go through to hopefully get some real life knowledge out of it.
So it's Rosemary Clooney - Rosemary? Rosemary Clooney, right? The singer? Yes. Clooney, doing, singing, "I've Grown Accustomed To Your Face," which is, you know, really a love song, but what we see on stage is we see one puppet that's got a ridiculous blonde wig on and she looks ridiculous, and next to her is a head that's just a piece of fabric with a pretty face on it.
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