A Quote by Malachi Kirby
If you're good enough to play a role with emotion and universal human elements, then you'll get others coming to you.
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And then there is the universal role of adult. When you play that role, you take yourself and life very seriously. Spontaneity, lightheartedness, and joy are not part of that role.
When you first come into the league you don't know what to expect. And then if you do, you're ready, but then it's different when you're playing and getting reps. It's just like anything, you start to do something, play it enough and do it enough then you can get good at it.
Nothing is easy and if you don't get a role, maybe you weren't good enough to play it.
I've always believed as a value that the government has a vital - not overwhelming, but vital - role to play in furthering human welfare and good. I think we have an important supportive role to play, hopefully intelligent and sensible.
You become a role model because of what you do as a person. There's a certain point where being a role model might come from standing up for yourself and getting rid of emotion that doesn't belong to you, emotion that is being brought on because of racist actions of others.
I had started acting when I was 7, and I was always wrong. I would always get to the very end [of the audition], but I wasn't a perfect package of one thing. I wasn't a cliche, and it always worked against me. I wasn't pretty enough to play the popular girl, I wasn't mousy enough to be the mousy girl. Then there was a TV show that Toni Collette was starring in. And when a role to play a girl who was struggling with identity came, I thought: "Oh, this is what I was supposed to do. Everything's leading up to this moment." I was 18. I was like, "This is it." I didn't get it. And I was devastated.
All of the elements of the comic way tend to spread to others, insinuating joy where it was previously absent. Conversation has a way of leaping among persons, as it does at parties and celebratory gatherings. Storytelling always begets storytelling. It is difficult to watch others at play without wanting to join them. This is not only a human phenomenon, for researchers have consistently noted that animals at play are often imitated by other animals. So wherever it is possible to initiate a playful activity, it will have a good chance of replicating itself through other parts of the system.
Vulcans are so smart. There's no excess; it's just enough. I learned coming away from the film that less really is much more. Sometimes, as a human, you get so discombobulated with emotions, but this was easier, because it was s o clean to play.
If the project has good writing and is something I get excited about, then I'll do the role. And if it's for TV, I'll ask myself, 'Is it a show that I'd watch?' If it's a play or movie, I'll want to know if there's a good director attached.
First, you have to play good football so that you get to play for a good team. Then, hopefully, you achieve such a level that you are invited to play for your national side, in time for a World Cup if possible. Then, obviously, play a good World Cup. That's my dream.
It was good to see an athlete that emotional in the aftermath of defeat, to show that losing isn't good enough. Fighting hard and trying your best isn't good enough. It showed that the only thing good enough in his eyes was winning. It caused a tremendous amount of emotion from him when he didn't achieve that.
What I really learned from Tim Burton is that it's important to have your own person in a role because you can't play a character unless there are elements of human behaviour that you yourself understand. I was really struck by how Tim Burton would like to sit and chat about you... or question things which then you had never thought about. It is a good thing to always step back a bit with things like that. But I try my damned hardest to learn something from everything I do.
The theme of the diary is always the personal, but it does not mean only a personal story: it means a personal relationship to all things and people. The personal, if it is deep enough, becomes universal, mythical, symbolic; I never generalize, intellectualise. I see, I hear, I feel. These are my primitive elements of discovery. Music, dance, poetry and painting are the channels for emotion. It is through them that experience penetrates our bloodstream.
If the universal is the essential, then it is the basis of all life and art. Recognizing and uniting with the universal therefore gives us the greatest aesthetic satisfaction, the greatest emotion of beauty.
The philosophical underpinnings of my approach to acting are that there are universal human qualities, and that every character is actually available within each one of us, that if we tap down into that universal humanness, we can find whatever character it is that we need to play already there within ourselves, and it's just a matter of peeling apart the onion that is you and finding that character within you, because of this universal human quality.
I think really good drama comes down to real human emotion. That's what makes us all tick, and that's what I've always been drawn to when it comes to scripts is real human emotion and dealing with that.
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