A Quote by Matt Bomer
The best experience for me at CMU was being on stage so much, getting that comfort ability and learning that technique you can use with any type of work because you’re comfortable with it and know your skill as an actor.
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Wrestling is a one-on-one experience and if something goes wrong you can't point a finger and blame somebody else. What you do is up to you. And yet it's a team sport, because whether your team wins or loses is a result of the cumulative effect of the matches. Wrestling is a great confidence builder because it's not all about strength. You have to use your balance and skill and technique and if you do, you can overcome a lot of muscle and bulk guys, and even those who have natural ability. Basically, you can out-technique an opponent.
I started off on stage because it was the only work I could get. I haven't been back for 11 years. I think any stage experience is good experience, as far as being an actor is concerned.
You're always learning as an actor... anything you do is a learning experience. It's the same whether you're doing film or TV, you have to do the part to the best of your ability, no matter how big or small the role. It's as simple as that, really. But every bit of work you do is a learning experience - which is the same, I guess, for people in whatever job they do. But with acting, it's also fun to be able to explore different characters and emotions.
I'm still learning to be the best actor I can be, and I have a long way to go to get to the level I would like to be at. My focus is still 100% acting acting acting. Once I hit a point where I feel very comfortable as an actor - because you can never stop learning, I don't care how comfortable you get, you can never stop learning - but once I hit a point where I can get that comfort level of taking on the task of directing and having the confidence in myself to have people's respect when I give them direction, that's definitely something I want to do someday.
Working with any senior actor is a learning experience, so getting to work with a thespian like Kamal Hassan was a memorable one.
An improv artist's best instrument is their ability keep their antennae clean so they're able to receive what I call the connection to creativity. It's the thing that you see in any amazing moment that any human being is performing. Whether it's watching Michael Jordan navigating through all these attackers and then suddenly rising up and putting the ball in the most amazing way, or watching an actor on stage playing Shakespeare, but not thinking about the actor anymore or the stage or you or the chair, any of these kinds of moments of transcendence.
I find that you can use an acting technique when the thing isn't working, not that you make the technique the end result of your work. You use the technique when you're in trouble and things aren't flowing the way they should. It's a way of fooling yourself to make it work again.
I was the strongest during my career, and that helped me a lot, definitely in the beginning, when I needed to race against riders who were much older than me and had the power and the experience. I could beat them with my technique. At a certain moment I not only had the technique but then the power came and the experience, and then you are on the best level that you ever can reach. But then the explosivity starts to go down, you're more afraid, and the technique goes down a bit. But it's OK, because it never goes completely down.
The effort of learning. It's the same when you approach any new skill or technique, from a dance step to driving a car. The effort of learning stops you, at first, from doing it well.
I was mainly a stage actor. I found film acting mechanical, because it was so technical - there was so much technique with the lamps and the movements of the camera.
I think playing somebody who's schizophrenic is such a lesson as an actor. It gets you totally out of your comfort zone, because you can't rely on your technique, your external stuff. You've really gotta look inward, in a way.
Fashion is comfort for me: being comfortable in what you are wearing. Because if you wear a designer gown and you aren't comfortable in it, it will show.
Life beats down and crushes our souls and theatre reminds us that we have one. At least the type of theatre that I'm interested in; that is, theatre that moves an audience. You have the opportunity to literally impact the lives of people if they work on material that has integrity. But today, most actors simply want to be famous. Well, being an actor was never supposed to be about fame and money. Being an actor is a religious calling because you've been given the ability, the gift to inspire humanity. Think about that on the way to your soap opera audition.
Not being in touch with your vulnerability and not learning to own it and accept it and be comfortable with it leaves you in a position where you're liable to look at and judge other people for being vulnerable because they're reflecting that part of yourself that you're not comfortable with.
It [RESIDENT EVIL: AFTERLIFE] has definitely been the biggest learning curve for me. As an actor, whenever I start on a movie, different things that I perform in ask for different skill sets. And this one is definitely the technological side of it. You have to hit your mark. You can't weave back and forth because your nose is jutting at you in 3-D. It's really been learning how to do that and also it's exciting to be on the forefront of this technology.
The biggest thing about me, as an actor, is I'm never a finished product, you know? I always want to try something or be in a new genre because, one, it's much more fun to do that because you're not doing the same thing over and over. One of the greatest reasons is that it keeps stretching you as an actor. So, hopefully, my method is that it makes me a better actor, and a more believable actor, so then, the more experience I have in any way possible, in a drama or a musical genre, different formats of working, the better I can be on all different platforms.
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