A Quote by Lynn Redgrave
So I - the thought that I would physically be different was - it's not a thrill, I have to tell you. It's kind of - it brings you up short. But I was able to look at it right away.
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Honestly, I think it's dumb luck that I'm able to kind of get away doing different types of films in different genres. There's always a tendency to kind of stick with what works, or stick with one particular kind of brand or movie. But so far I've been getting away with it, so I'm going to continue to do that for as long as I can.
I honestly thought we wouldn't hold the U.S. Senate. I thought we'd come up short and I didn't think President Donald Trump had a chance of winning. Given my expectations, doubly exciting because I thought we'd come up short on the Senate. We had a lot of exposure. That was really something. But it never occurred to me that he might be able to win as well.
I never thought I'd be able to design all the things I've been able to design. I thought that I'd be far more limited to a specific kind of work, and I've been able to establish an incredibly broad practice in all different ways, and it's because the expectations have gotten elevated.
I think if you look at NXT, the one guy who seems like he would belong in a WrestleMania main event is Nakamura because of the aura and the buzz that he gets. He is able to grab the attention of people who don't really know who he is right away with his mannerisms and entrance - by the time he gets to the ring, you are kind of hooked.
I wanted to be a visual artist, but I realized I was more affected by what I read than by what I saw. I would go to a show at a museum and look at a painting and say, 'Oh I wish I owned that,' and that would be the end of my relationship with a painting. With a short story I would read or with an author I would discover I could be haunted. It would affect my mood and affect the way that I saw the world. I thought, wow, it would be amazing to be able to do that.
The risk is only in the outcome. You're going on a journey. You're going somewhere to play. And at that time, it felt right to spend that 11 or 12 days exploring this kind of role because it was so different and so challenging for me. It was really exciting to be able to show people, "Look, this is very different. Isn't it interesting?"
The first time I saw my look on a real person was in Paris, and I felt a little shock, a little thrill that went through my body. And that thrill never goes away - never.
My only real fear was that I would not be able to surf again because I was concerned that I would not physically be able to do it. I knew that if I wasn't able to surf then my life would really change.
We feel like "Lost" deserved a real resolution, not a "snow globe, waking up in bed, it's all been a dream, cut to black" kind of ending. We thought that would be kind of a betrayal to an audience that's been on this journey for six years. We thought that was not the right ending for our show.
We feel like 'Lost' deserved a real resolution, not a 'snow globe, waking up in bed, it's all been a dream, cut to black' kind of ending. We thought that would be kind of a betrayal to an audience that's been on this journey for six years. We thought that was not the right ending for our show.
Myself and Yorgos Lanthimos, we spoke a little bit and I was at a certain body weight that I was closer to making a statement or defining the character physically by losing weight. There was no justification for him to be emaciated, but I thought, say I was 165, I thought what if I went down to 155 and have him rail-thin? And Yorgos was like, "Well, if he's very thin I think maybe it will speak to some kind of psychological trouble that we want to stay away from," and I was like, "F - -, you're right."
When I had my cancer, the chemotherapy took my hair away. So then I decided I would just keep it short, and this is my signature now. The great thing about it is that I am a bit of a chameleon, so you can put a wig on me and I look totally different.
In every species of fish I've angled for, it is the ones that have got away that thrill me the most, the ones that keep fresh in my memory. So I say it is good to lose fish. If we didn't, much of the thrill of angling would be gone.
When you're working on a scene, both in the script phase and also in the moment, you look around and you wait for the lightning bolt to strike you and based on your instincts tell you what the right thing to do is here. And that can result in anything from a change of dialogue to the realisation that what you thought was a dramatic scene should actually have some humour. And maybe if you stage it this way it's funnier, or if you put the camera here it tells a different story. That stuff is kind of everything when you're a director.
Life is painful sometimes. It touches everyone, so you may as well try to look for other answers and find peace. So, it is difficult to write those types of things because nobody wants to tell sad stories. I think that I'll always tell stories about human hope. I would love to be able to tell somebody, "It's okay. It's all right. Be a good person." That's what my job is, in life.
I grew up in the Midwest, and I was a short, fat, little Jewish kid... but it was just different. People didn't understand, so I had to deal with it. One day, I physically dealt with it, and it never happened again. I'm not saying that's the way to do it, but you have to stand up for yourself, period, end of story.
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