A Quote by Matt Bomer

It was a gift to get to play a gay role that was written in a three-dimensional, human way. — © Matt Bomer
It was a gift to get to play a gay role that was written in a three-dimensional, human way.
Play the role as a human being... human beings are three-dimensional.
It happens a lot that women have to play the girlfriend role, which isn't as three-dimensional as the male role.
You don't want the white men to be written in a three-dimensional way but the black men, not. I mean, it's just about [how] scripts should always reflect real human beings. So that's what I look for.
You don't want the men to be written in a three-dimensional way and the women, not.
The other thing - and writers can say whatever they want - is casting. You need to find a person who can inhabit that role, who can not sugarcoat the bad stuff, and not be too hard on the good stuff, but who can come across as a three-dimensional human being with some depth and some thought about what they're doing. When you find James Gandolfini or Jon Hamm, someone who can inhabit this role but still has a natural humanity to them, no matter what they're doing? It's a gift.
I think that, when you play a mother, whether you play a bad mother or a not so great mother or an amazing mother, being a mother is already so complicated. It's already three-dimensional, automatically, no matter what the role is, because you're playing a mother.
If a shadow is a two-dimensional projection of the three-dimensional world, then the three-dimensional world as we know it is the projection of the four-dimensional Universe.
Since I found that one could make a case shadow from a three-dimensional thing, any object whatsoever - just as the projecting of the sun on the earth makes two dimensions - I thought that by simple intellectual analogy, the fourth dimension could project an object of three dimensions, or, to put it another way, any three-dimensional object, which we see dispassionately, is a projection of something four-dimensional, something we are not familiar with.
In the beginning, I was always playing some kind of gangbanger and the token Mexican dude who didn't have a lot of lines but was in the entire movie. At the same time, everyone gets typecast, and I decided that if I was going to play a stereotypical role, I was going to play it like a three-dimensional character.
Genes are effectively one-dimensional. If you write down the sequence of A, C, G and T, that's kind of what you need to know about that gene. But proteins are three-dimensional. They have to be because we are three-dimensional, and we're made of those proteins. Otherwise we'd all sort of be linear, unimaginably weird creatures.
The giving and receiving is the tricky thing. It's not the gift. It's what the heart says in giving the gift, and from my point of view, one doesn't give or receive - that's a role we have to play. But the gift - it's God's gift. I think that it's better to be souls than roles.
Things danced on the screen do not look the way they do on the stage. On the stage, dancing is three-dimensional, but a motion picture is two-dimensional.
I was never a one-dimensional guy; I was always able to block shots, play defense, get rebounds, or drive, or pass. My father made me grow up that way. He taught me to work on different things in my game and wanted me to be more than a one-dimensional player.
It's important for people of colour to have the opportunities to play characters that are as nuanced - as three-dimensional, as human - as the characters who we traditionally see getting to play the protagonist. The good guys and the bad guys. The reason that is important is because it's a better reflection of the reality of the world we live in.
I never worried about becoming typecast. People have said that to me, but I never worried about it. As long as the part is three dimensional, I'm okay with it, whether the role is to play the heavy, the cop.
Obviously, gay projects play a special role for me because I am gay, so I'm doubly proud of them.
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