A Quote by Kevin Kline

I see a steady downward slope toward oblivion over the next three years. I'm pessimistic. Everything that's happened to me so far has been kind of flukey. I went into Twentieth Century because I wanted to work for Hal Prince. The part was too small according to my agent. I had been doing only leading parts, and he thought I should continue that. But the part was enlarged in rehearsal: songs were added, and it became more physicalized and showy. Then I won awards and got attention.
My agent in London told me, after Never Let Me Go, because I loved doing that so much, "If you're on a lucky streak and you're doing well, you should only take a part, if you can't bear the idea of anyone else doing it." That's been the case since then, with Drive and Shame and the play (The Seagull), and the stuff that's going on, like Gatsby. I would have been devastated, if I hadn't gotten those jobs.
They [Barnes Theatre Club] were a very good group, and for some reason when I finished the backstage thing, I just decided to that I should try to act. So I auditioned for Guys and Dolls and got a little tiny part as some Cuban dancer or something and then in the next play I got the lead part, and then I got my agent. So I owe everything to that little club.
I had been struggling to get roles in Hollywood for three and a half years after leaving the WWE. Then I finally got an agent - the agent I have now. He's a great guy, but he turned me down three times before he even decided to take me on a as a client.
I don't have too many plans filled out. I know I want to keep doing more music. I've got a couple of albums worth of songs I'd like to put it out there. As far as movies, I just want to continue how I've been doing it: working with terrific people is certainly on my agenda, and then doing stories that interest me.
I have been acting for almost 20 years now. At first it changed in my focus and how much I wanted to act. When I was younger, it was so much fun, and I really wanted it, but it was not competitive. Then I became a teenager and it became kind of competitive and not as much fun. I pulled back and I got lazy about it, where I was like, "Yeah, I guess, I'll do small parts in cool movies," but I wasn't really trying to say anything.
It’s been me all along,” said September slowly. “Me who gave up my shadow, me who went down into Fairyland-Below and Fairyland-Lower-Than-That to wake up the Prince. Me who shot the poor Minotaur. You oughtn’t just hand the whole business over the moment a Prince comes on the scene. I’ve got to see it through, don’t you see? The Hollow Queen is hollow because she’s missing the part of her that’s me. We’ve got to come together again. And he can’t do a thing about that.
I had never intended to be on the show more than three years, regardless of how successful it was. I had other things I wanted to do. And I was offered a role in 'Red Sky at Morning', [1970]. I got that part because [producer] Hal Wallis had seen the HERE'S LUCY show with Ann-Margaret. It was a thrill for me, getting to do the drama and comedy. It was such a good role. So I missed several episodes of the show to shoot the movie. And I never came back but one.
I was in New York. I had been doing theater for many years, and then I got hired to a little part - they weren't calling it an extra, but I didn't have lines. It was a 'featured' part.
I've noticed more people coming to shows and I've had a feeling that they were from a part of the culture I haven't been able to get to before, younger people. I think on iTunes they've been experimenting with my songs and the digital radio world has been very kind to me.
It has been said that the three great develpments in twentieth century science are relativity, quantum mechanics, and chaos. That strikes me the same as saying that the three great developments in twentith century engineering are the airplane, the computer, and the pop-top aluminum can. Chaos and fractals are not even twentieth century ideas: chaos was first observed by Poincare and fractals were familiar to Cantor a century ago, although neither man had the computer at his disposal to show the rest of the world the beauty he was seeing.
When we were younger, we sang at the dinner table. We started doing two part harmony, then three part, and then we added back up tapes and instruments.
Everything hurts, every single thing including the weight of him and I'm crying because it hurts and he's telling me he's sorry over and over again, and I figure somewhere down the track we'll work out the right way of doing this but I don't want to let go, because tonight I'm not looking for anything more than being a part of him. Because being a part of him isn't just anything. It's kind of everything.
It wasn't exactly a cattle call. I had an agent, and they were seeing people for the parts, so my agent said, "Here's the script, see if there's anything that speaks to you." And I did, and I called my agent and said, "I think this character Data is kind of interesting," and she said, "Well, okay, I'll get you the appointment with Junie Lowry." I had to read with the casting agent first, 'cause nobody really knew me then. Then after that, I had, I think, six different auditions for the role. And finally it was me [on Star Trek].
I had not been very kind to J. Edgar Hoover. And the field agent had written on - it was sent directly to Hoover - that - the director should see this - `And, besides, Hentoff is a lousy writer.' And I thought that went a bit far.
Mia and I had been together for more than two years, and yes, it was a high school romance, but it was still the kind of romance where I thought we were trying to find a way to make it forever, the kind that, had we met five years later and had she not been some cello prodigy and had I not been in a band on the rise - or had our lives not been ripped apart by all this -I was pretty sure it would've been.
As we see this work move forward and move on, I would only declare to you as I stand before you today that in those 90 and more years that I've had, as I've witnessed and felt and seen and been part of the spiritual experiences that have been mine, that this is the work of the Lord. It's just as has been revealed. I've sensed it and I feel it, and I so declare to you.
This site uses cookies to ensure you get the best experience. More info...
Got it!