A Quote by Jonathan Tropper

We're all clichés, all following scripts that have been written and played out long before we landed the role. — © Jonathan Tropper
We're all clichés, all following scripts that have been written and played out long before we landed the role.
Beware of clichés. Not just the ­clichés that Martin Amis is at war with. There are clichés of response as well as expression. There are clichés of observation and of thought - even of conception. Many novels, even quite a few adequately written ones, are ­clichés of form which conform to clichés of expectation.
The scripts of 'The Wire' are fantastic - the scripts of 'Breaking Bad,' the scripts of 'Mad Men,' the scripts of 'The Sopranos,' the scripts of 'Battlestar Galactica.' You could keep going on. They're incredibly well written.
It was a role [Dean Sanderson] I hadn't seen before, and yet it was very accessible and relatable at the same time. I read scripts that have one or the other, but I rarely read scripts that have both. And it was laugh-out-loud funny.
I think 99 percent of actors have gone through severe rejection before they ever landed a single role. I probably auditioned for 100 projects before I was cast in even the smallest role.
Not one role that I've played has been written specifically for me.
The meaningful role of the father of the bride was played out long before the church music began. It stretched across those years of infancy and puberty, adolescence and young adulthood. That's when she needs you at her side.
Never before have I written so long a letter. I'm afraid it is much too long to take your precious time. I can assure you that it would have been much shorter if I had been writing from a comfortable desk, but what else can one do when he is alone in a narrow jail cell, other than write long letters, think long thoughts, and pray long prayers?
I've long been interested in the role of 'minor characters' in major events. This has been the focus of a lot of the fiction and nonfiction I've written.
I think typically you'd start in a supporting role or an ensemble role, or maybe even an off-Broadway role. So to come into a lead role on Broadway, especially taking over a role that has been played by two phenomenal actors in the past, that is some large shoes to fill.
In 1990 there were about 300 scripts being written demanding the release of Nelson Mandela. And suddenly we watched Mandela walking out of prison. So those scripts had to be destroyed.
I have been performing as long as I can remember, so I built my craft. People think I was discovered after the first show I played once I landed in L.A., and it just happened instantly - overnight. The truth is, I was performing wherever I could for five years.
I have been following what is now called the 'Spartan Way' long before it became popular!
I have written before about why climate change has to be halted. In retirement, I want to look my grandchildren in the eye and tell them about the small role the business and I played in tackling the world's greatest challenge.
I don't see a difference between playing a performance capture role and a live action role, they're just characters to me at the end of the day and I'm an actor who wants to explore those characters in fantastically written scripts. The only caveat is a good story is a good character.
It's so liberating to play a song in front of 50,000 people that you've never played before. Not something you played a long time ago and have forgotten: Never. Played. Before. There's something magical about it.
I played the first 'Resident Evil' on a PlayStation in high school. I remember, those were the beginning of the survival-horror genre; I've been following it for a very long time.
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