A Quote by Joshua Malina
Coming up in the School of Aaron Sorkin Delivery of Fast-Paced Dialogue and Hyper-Articulateness prepared me well for Shondaland, where there are many of the same factors at play.
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I like to say good dialogue is a million times easier to memorize than bad dialogue - difficult good dialogue, even if it's difficult. Aaron Sorkin dialogue is easier to memorize, even though it's wildly complicated.
Patience is probably the hardest thing I've had to learn in tryin' to love a girl. My lifestyle is very fast-paced; I'm always goin' somewhere, always on stage, and when I perform I perform at a high intensity. Sometimes I carry that energy off of the stage, into my private life. Sometimes I encounter girls who want me to take my time. When you're such a fast-paced, in the fast lane kinda guy, you don't really take the time that's necessary; you're like, "I want it now! If you can't give it to me now, well then." And from that, you end up losin' a lot of great people.
I had been used to improvising and even in the audition I was feeling free to rearrange Aaron Sorkin words a little bit, as lovely as they were. I didn't find out until after I got the part how furious Aaron was at me for doing that. They said, "He was livid. He did everything in his power not to jump down your throat!" But I came to realise that Aaron was writing in metre and the rhythm of the language is very important.
During my many hours on the Acela, I have taken to watching 'The West Wing,' Aaron Sorkin's drama of an idealised White House.
Both of the Quaid brothers, Randy and Dennis, were in my class, and Tommy Schlamme, who produced and directed The West Wing with Aaron Sorkin, among many others. Marianne Williamson, who did A Course In Miracles, she was in my high-school drama class, too. So it was kind of an amazing class.
Aaron Sorkin uses a lot of the same people again and again - the people he likes. I think if there's ever a part for me, he would consider me for it. I hope so. Sometimes familiarity breeds contempt, other times it helps you. It's just amazing to work with his scripts. There's never any fat in them. It's all perfect, and there's such a rhythm to it. The musicality of his writing - it's so specific and unique to him, and such a joy to play as an actor, because there's no sentimentality.
Every creator sets up their world differently. That's what's so amazing about someone like Aaron Sorkin and his writing.
Actually, if I had to do it over [leaving the show the West Wing], I'd do the same thing, because lost in the shuffle of it is that Aaron [Sorkin] left the same year I did. And I would not have wanted to be on The West Wing with somebody else writing it.
The funny thing about The West Wing is - and I don't know what Aaron Sorkin says about it - but I'm convinced it was a comedy. It's a very intellectual and cerebral comedy, but it was SportsNight in the White House. It had an energy and a vitality and an intelligence and a passion that's rare. And it was extremely difficult to do, because they were so demanding about the dialogue.
Toronto is actually way more fast-paced than L.A. - I find the fast-paced nature of Toronto a bit obtrusive. In L.A., I love getting up and going hiking and going to the beach - that's L.A. culture and it's awesome and I miss it. Toronto culture is wonderful, but I miss L.A.
All of Aaron Sorkin's characters are so smart.
I still play my fast-paced style but when the game slows down it allows you to see the little things - the right passes, where to lay the ball up.
I'd been a fan of old film comedies like Preston Sturges and Howard Hawks movies - the fast-paced dialogue in movies like 'His Girl Friday' and 'Bringing Up Baby' and 'Twentieth Century' and 'Sullivan's Travels.'
I think it's great when writers get recognition; it doesn't happen very often. I just don't want that writer to be me. Let it be Aaron Sorkin or, you know, somebody good.
Bill Pullman is older than Aaron Eckhart - although I was older too - and the age difference changes the play. My perspective on those issues had changed a lot. Without going into nerdy details about that play, there was something that still stuck with me. I still had the same joy in that dialogue and David Mamet's rhythm in terms of his writing. I felt like there was still something to explore.
I am lucky enough to have Aaron Sorkin write what I have to say.
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