A Quote by Kirsten Dunst
I've always had a process that I do before I even get to set or go to the location. I work privately, and it almost feels like therapy between me and who I'm playing. So I have this inner life that's there and it gives me a confidence, too, that when I'm playing the role I know every question.
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I've always used my own personal emotions and things that I've gone through in my life to build a character. The work that I do before a film feels almost like therapy, between me and whoever I'm playing.
I wasn't playing the music, the music was playing me... and once that went away, and I had the feeling I was playing music, I had to stop. The need to go onstage and get my brain flattened every night left me, and what I didn't wanna do is go onstage and perpetrate a fraud... You cannot fool an audience.
I am always going to be working on location, even if I have a 20-year career. Talk to me in 15 years and I will still be working on location. It's something I can always do better. Right now, it's not nearly where it could be, so it gives me something to work on every day.
Every team I play, I'm playing them like we playing the Golden State when they had Kevin Durant. Every point guard I play, I'm playing Steph Curry. Every shooting guard I'm playing, I'm playing James Harden. Every three-man I'm playing, I'm playing LeBron and KD.
I've used my experience from playing sports in almost every aspect of my life. Playing soccer is where I found my voice, and playing softball was where I learned precision, and in every game I learned to play as a member of a team - to work not for my own glory, but for a shared goal.
And you still love Marc?" "More than I can even explain. He's my rock—strong and steady, and ready for anything. He knows what I need before I know it, and he pushes me to work harder, and look deeper, and be better. He challenges me, and infuriates me, and he lights me on fire, deep in my soul. And he has never, ever let me down. Sometimes it feels like he's the only thing keeping my heart beating. I love him so much that it feels like I'm dying a little bit every day that he won't smile at me. Or touch me.
My father was always pushing me to become a basketball player. In Africa, when you're a kid, every kid loves to play soccer, and I loved playing soccer. But my dad didn't want me playing soccer. He would joke, 'C'mon, man, you're too tall!' Then he promised me, 'If you start playing basketball, I'm going to give you my jersey.'
I had people in my life who didn't give up on me: my mother, my aunt, my science teacher. I had one-on-one speech therapy. I had a nanny who spent all day playing turn-taking games with me.
It's fine with me if people want to applaud between movements of a concerto. It doesn't bother me - it's part of performance experience. Sometimes when they applaud if I'm still playing it's not as good, but there's always a way around it. Actually the applause gives me a little rest and chance to stretch, too.
There's a real tension between it being a collaborative art process, which is almost like performance art of yourself, and, as we talk about the movie, it's kind of a mix between melodrama and cinéma vérité. This involves ideas about playing the role of yourself and the movie of your life and all these other things.
The writing process, the way I go about it is I do whatever the beat feels like, whatever the beat is telling me to do. Usually when the beat comes on, I think of a hook or the subject I want to rap about almost instantly. Within four, eight bars of it playing I'm just like, 'Oh, OK. This is what I wanna do'.
If I'm mad or showing my frustration, the whole team's gonna be like that, techs, and people are going to go down. So I just try to keep the even keel. That's why I don't get too high or too low. I've been playing like that my whole life. It's just natural for me.
Sports became a way for me to find my personality and identity in life. I had a lot of problems as a young kid like we all do with my own confidence, trying to grow up, and become a man and whatnot. Sports helped me get there. It helped me get my role in Rocky IV. It has helped me ever since in my movies and dealing with a lot of hard times between pictures and my life. I would say it's the one thing that's kept me going over the years.
In my life I have had to work through problems of stigmatization and prejudice. When I discovered the power of the arts to express my pains and joys, it became clear to me that there would be no other way to work through the demons except to fully embrace the process of creation. The work was not personal therapy but had a connection to other peoples' realities. As I grow older and more mature, it becomes clearer to me that personal struggles and conflicts are connected with universal struggles and conflicts. It is this knowledge, ironically, that gives me the freedom to experiment in my work
When I am playing a role far away from me with an accent that is not mine I always employ a dialect coach. I am almost always playing someone that has an accent that is not mine.
In TV, kid roles are like this: You're either in a couple minutes of an episode playing somebody's kid, or you get in these procedurals where you're crying or you're playing a witness or you're playing a crazy person. Every once in a while you get a big guest star role, but there's a formula to those TV shows.
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