A Quote by Kano
You fight for your character in the script. It's part of our job to evolve them, show all sides of them.
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Be a role model not a critic. Don't tell your children, your peers, or your subordinates what to do - show them. And when the lesson is over, keep showing them by demonstrating that your actions are part of your character, not part of their curriculum.
You're not free unless you can show the good and the bad, all sides of them. So to me, when I play a character, it's important that I can show every aspect of them.
Improv is such a huge part of my background, and a huge part of character discovery is really being inside the character and trying to think through them without the limitations of the script.
Your home needs to be a place where your kids can fail—and learn from their failure. Surround them with love, show them how important they are to you, but don’t try to undo their failures. It’s not our job as parents to get our kids off the hook.
Every white liberal straight man needs to take action and work at unifying all peoples of our sides and stop making women and people of color and the LGBT community fight it out themselves and just pat them on the back. We have to take active roles in supporting them, defending them, and hiring them.
Criminals, people who commit crimes, usually society rejects these people. They are also part of our society. Give them some form of punishment to say they were wrong, but show them they are part of society and can change. Show them compassion.
Definitely the script because you want to be part of an interesting story, you want your character to be a challenge, then comes the director. But essentially it's the script first and whether it's a character that you think you can do.
When you write a script that you've felt in your soul for a long time, you can't ask the actors to go through the same emotions. You have to do part of the job to make things as easy as possible for them.
You want everyone to be a full character. No one is just evil, or very few people are, hopefully. They're characters, so you want to flush them out. You've got to show all sides of them. There is definitely an antagonistic relationship between guards and prisoners, and I do think it flares up.
This is not a tough job. You read a script. If you like the part and the money is O.K., you do it. Then you remember your lines. You show up on time. You do what the director tells you to do. When you finish, you rest and then go on to the next part. That's it.
It is in the field of prayer that life's critical battles are lost or won. We must conquer all our circumstances there. We must first of all bring them there. We must survey them there. We must master them there. In prayer we bring our spiritual enemies into the Presence of God and we fight them there. Have you tried that? Or have you been satisfied to meet and fight your foes in the open spaces of the world?
Acting in particular is a fun job when you have a good script. I don't know about acting when you don't have a great script. I'm gonna say that's not a great job, it's kind of a dumb job. But when you have a good part in a good script, it's the best job, in a way.
But when you get to know a character so well, you start to have insights that you can't show because you're confined to your script of your hit show.
Most fight sequences on a television show, probably any action adventure show that you know of, if you asked them how long they probably spend, [it's] one or two days doing the fight. Where we were spending eight days concurrently with an episode doing our fight sequences.
I don't ever go into a fight wanting to hurt someone. I just want to show them that I am better than them, and if they get hurt, it's part of the sport.
As a director, your job can range from having to lean on someone to get a performance out of them, to someone being so built for the part that all you have to do is make them feel confident and comfortable and assured of what they're actually doing, and you just wind them up and watch them go.
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