A Quote by Kevin Spacey

I certainly identify with the role of mentor and, to some degree, maybe teacher. I do a lot of work with kids at the Old Vic. — © Kevin Spacey
I certainly identify with the role of mentor and, to some degree, maybe teacher. I do a lot of work with kids at the Old Vic.
In every role that I do - whether I'm a teacher, actor or mentor - I do it with total dedication and as much honesty as I feel is required because there's no alternative to honesty and hard work.
Certainly the principal has to be bald. Certainly the school counselor has to be bald. And the driver's ed teacher. And maybe the wood-shop teacher. Mine was.
It's important in our role as leaders that we use the platform to address issues, to address barriers, to identify best practices for overcoming these challenges with businesses small and large. Maybe there are some public policy issues that we need to address. Maybe some of them are at the federal level and some are at the state or local level.
I think we should allow for schools within schools, where 100 out of 500 kids may be organized by the way they work and what they do, and what they do often is more progressive. I would like to see a lot of kids of different ages, maybe even some adults, work together on a project.
In Philly, there are a lot of social programs. If you have a degree, you can go and apply. I was basically a social worker, but I became sort of a sub teacher in a special program, helping kids with reading or math. But we would also do plays, learn about music... We were doing lots of fun stuff, but that was such hard work.
Maybe I'll work for a label someday, write some fiction, nonfiction. Someday I'd like to go back to school and get my teaching degree. I want to be a grandpa. I want to have more kids.
The difference in a teacher and a mentor is that a mentor is interested in our soul.
I got a gerontology certificate a million years ago along with my law degree, so I've been interested in older people for many years. Some people grow up with a lot of kids around, but I just grew up with a lot of old people.
I made a conscious decision after I did 'The Duchess of Malfi' at the Old Vic in 2012, when my daughter was six months old, to try doing more screen work.
All my life, I had loved music and been in choir, and I have a degree in music, but I never planned on doing it as a job. I had a realistic perspective on that. I thought maybe work at a church or be a teacher if you wanted to work in music.
I stayed a year in the sixth form and there was talk of Cambridge, but I wanted to go to drama school. At 17 and three months I went to the Old Vic School in London. This most remarkable and brilliant drama school lasted only six years because the Old Vic Theatre hadn't the money to go on funding it.
What is desired is that the teacher ceased being a lecturer, satisfied with transmitting ready-made solutions. His role should rather be that of a mentor stimulating initiative and research.
As an undergraduate, I took two writing workshops taught by Elizabeth Hardwick. She was certainly a major influence, though more as a writer I greatly admired than as a teacher. As for other writers, I think it's safe to say that my work has been and continues to be influenced to one degree or another by every writer whose work I love and admire.
The Old Vic is a beautiful theater to work in. It's quite a large house, but it has a feeling of intimacy.
I've worked a lot with kids who identify as LGBTQ or gender nonconforming, and they are unquestionably some of the bravest people I've ever met.
No one wanted me to be a conscientious objector. My parents certainly didn't want it. My teacher and mentor, Joe Brearley, didn't want it. My friends didn't want it. I was alone.
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