A Quote by Kevin Spacey
There's something really incredible about watching what someone else does with a role that we know: the Hamlets or the Henry Vs or the Othellos or the Cleopatras that we've seen on stage.
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You almost have to step outside yourself and look at you as if you were someone else you really care about and really want to protect. Would you let someone take advantage of that person? Would you let someone use that person you really care about? Or would you speak up for them? If it was someone else you care about, you'd say something. I know you would. Okay, now put yourself back in that body. That person is you. Stand up and tell 'em, "Enough!
I'm one of those pathetic actors who will say yes to every play reading just because I do miss the stage so much. What I really miss about the theater is that in the end, it's yours to give. In television and film, it's yours to do and someone else's to take and someone else's to give. As much as I love television - the biggest luxury of all is to know that you have a job to go to - I do miss that connection and having that power over my own performance on stage.
I think I had a lot of fear, even when I was really young, that I was going to be seen as something that I didn't want to be. I didn't really know how to be myself well enough to be comfortable being someone else.
I really liked watching Thierry Henry and Zidane, especially Henry in his Arsenal days.
I have struggled with perfectionism and I think it's a really damaging thing in my own life. When we put that perfectionism on someone else, it just hurts relationships whereas grace and trusting someone else's heart is a really, really incredible and important part of any relationship.
I love playing a role, anything that's dramatic. I'm enjoying living that kind of life: being someone else, getting to die, being a temptress. I enjoy being someone else on stage.
Music is all about seduction, so it's an ongoing flirtation, but watching anyone do what they are talented at is totally intoxicating. Take even the ugliest guy and have them do something they are really passionate about - they are instantly attractive. Unfortunately watching someone write is a little lackluster. Maybe if they had a really sexy keyboard face.
...and I suddenly feel that Henry is there, incredible need for Henry to be there and to put his hand on me even while it seems to me that Henry is the rain and I am alone and wanting him - Clare
Nothing frustrates me more than someone who reads something of mine or anyone else's and says, angrily, 'I don't buy it.' Why are they angry? Good writing does not succeed or fail on the strength of its ability to persuade. It succeeds or fails on the strength of its ability to engage you, to make you think, to give you a glimpse into someone else's head—even if in the end you conclude that someone else's head is not a place you'd really like to be.
Lena Dunham or Miranda July, those people are sort of thinking about their work in a slightly different way than I do, where their whole body is a seed of what they're creating. I can't imagine watching Miranda's movies with anybody else playing her role, she's so integral. But for me, it feels more like every story is really individual. If I thought of something else, or thought it should be my body representing it, I'd fold my body into it. But most of the time I'm writing to get something out of my body.
I mean, watching any rocket go up is pretty incredible, but watching a Soyuz go up is something else.
I tend to think that the whole concept of, 'I saw this TV show, and someone was wearing this sweater, and now I'm going to buy that,' it's something that's been talked about for a long time, but I've never really seen it work. When people are watching an entertainment show, they want to be entertained.
When a person you love dies, it doesn’t feel real. It’s like it’s happening to someone else. It’s someone else’s life. I’ve never been good with the abstract. What does it mean when someone is really truly gone?
You know, songs often have a very coloured past. They might have something about them but it still doesn't work, so someone else adds a bit, and someone else adds a bit so perhaps one day I'll know its full history.
Stage is the ultimate test; I like watching established screen actors on stage to see if they can really do it. But it's great to have a healthy mixture of the two. Film is so technical: there's something very particular about the relationship between you and the camera. It took a long time for me to get good on film.
I was full of energy, and I had a lot of bottled up rage that would come out in my stage performances. It was therapy sessions for someone who couldn't afford to go to therapy, a way to release my frustration, my inhibition. When I was little, growing up in an abusive household, I felt like I didn't have a voice. Suddenly I was on stage and people were watching me and listening to me, so even if I was singing about something that didn't have to do with abuse, when I was on stage I could express all of the anger, the rage.
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