A Quote by Matthew Lewis
Obviously, when you're in theater, you have to be in character. You have to prepare for the unexpected. You have to be able to react to things that don't necessarily happen every night, or aren't supposed to happen every night. And you have to react to it in character. In six months, 192 shows, those things did happen. And the experience of that, the ability to stay in character, I feel like I've learned a great deal.
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You have to prepare for the unexpected. You have to be able to react to things that don't necessarily happen every night, or aren't supposed to happen every night. And you have to react to it in character.
Terrible things happen all of the time, and they can happen in a second. The best thing is to be prepared to react. If you try to control every little thing, you're going to end up miserable - and you're going to fail.
Every character thinks differently, and every character has a different energy and way that they tick. But to find a character like Kai, who is so far that he doesn't even feel things, he is so different from me. That is the most exciting part.
I start with a character and a situation, but I don't know what's going to happen until I write it. Sometimes things happen that surprise me.
The only person who had any control was Jonathan Harris. His character was so flamboyant that he was able to make things happen. My character was fairly one-dimensional, so I had my relationship with Dr. Smith and with the family.
I want tap to be something danced in arenas. Sort of like a rock group. Other art forms happen every night. Take theater, opera; there's always opera happening every night.
You have the ability to choose which way you want to go. You have to believe great things are going to happen in your life. Do everything you can - prepare, pray and achieve - to make it happen.
Sometimes, you don't know what's going to happen to your character until the night before you shoot the scene. So, sometimes, you get a great big surprise at the very last minute, which is scary sometimes. You don't have a whole lot of time to prepare.
I've never really been a character on TV. I think, if possible, you want to portray yourself. If you're in a situation where you're supposed to react, you need to react.
When doing theater, you have to find great satisfaction in the small things. There's going to be a repetition and a redundancy night after night, but it's the small variations in those moments - a word, a tone of voice, the smallest sense of enlightenment that can happen in an instant onstage - that will be the most rewarding.
Life is 10% what happens to you and 90% how you react. There are some things we can't control and some things that do happen to us that we can't take back, but how we deal with it afterwards is our future... I think anybody can do anything they want if they stay positive and determined.
It's not the plot [of Valley of Violence] - the plot is the reason to get all these things to happen, all these character moments to happen. It was always meant to have these two perspectives.
Now what kind of an attitude is that, 'These things happen?' They only happen because this whole country is just full of people who, when these things happen, they just say, 'These things happen,' and that's why they happen! We gotta have control of what happens to us.
I was Paul Schrader's assistant for six months before I went to film school, and he's very much about knowing what's going to happen on every page before you even start writing dialogue - the entire plot and character arcs are mapped out.
I think every time you take a female character, a black character, a Hispanic character, a gay character, and make that the point of the character, you are minimalizing the character.
Well, one of the things we're supposed to be able to do as playwrights is write from a place of empathy, get into another character's shoes and experience things both mundane and tragic. And people don't - like me right now - people aren't necessarily the most eloquent when trying to express their emotions. I guess I feel as a playwright that those people deserve a voice, too, a voice that isn't so articulate that they themselves can no longer identify with it.
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