A Quote by Michael McKean

On film, when you're driving home from the set, you realize what you should have done, but it's too late. When you're taking the subway home from your play, you realize what you did wrong, and you go back the next night and you do it better, or you screw it up again in a different way. It's a different thing altogether.
If you mess up the performance on stage, you do it again the next night. You're like alright, you let yourself off the hook, and you've got to go back in there. Whereas, with a film, I would go home and be like, "Well, I've ruined the arc of the character forever. That scene is never going to work. I know because I can never shoot it again." So, it's all miserable, but in different ways.
If you're strutting around Beverly Hills and hitting up these big industry parties every night when you're not making movies, then it's going to eventually consume you. But for me, I live most of my life in Boston. I do things no different from the way my buddies back home do them, except when I go to work, I go to a film set.
Life…we understand it differently at different stages. It’s what is interesting about getting older, you realize your relationship with the past is always negotiable. There is a lot of freedom in that, because you realize you can go back to what you did such a long time ago. You can talk with the dead, talk with your lost self, your disappeared self, and you can visit those places again, and understand it differently. That makes a huge difference.
I think, just as footballers play better at home, maybe film-makers, too, create better at home, even though the rules of football are the same wherever you go.
All I wanted was to say honestly to people: 'Have a look at yourselves and see how bad and dreary your lives are!' The important thing is that people should realize that, for when they do, they will most certainly create another and better life for themselves. I will not live to see it, but I know that it will be quite different, quite unlike our present life. And so long as this different life does not exist, I shall go on saying to people again and again: 'Please, understand that your life is bad and dreary!'
In late 2004, I left my much-maligned home state of New Jersey for the supposedly greener pastures of Astoria, Queens. I'd finally be in the mix, living off the subway line, able to go from audition to audition during the day and from late night show to late night show in the wee hours of the morning.
I wonder if ever again Americans can have that experience of returning to a home place so intimately known, profoundly felt, deeply loved, and absolutely submitted to? It is not quite true that you can't go home again. I have done it, coming back here. But it gets less likely. We have had too many divorces, we have consumed too much transportation, we have lived too shallowly in too many places.
African films should be thought of as offering as many different points of view as the film of any other different continent. Nobody would say that French film is all European film, or Italian film is all European film. And in the same way that those places have different filmmakers that speak to different issues, all the countries in Africa have that too.
...the dark ancestral cave, the womb from which mankind emerged into the light, forever pulls one back - but...you can't go home again...you can't go...back home to the escapes of Time and Memory. You Can't Go Home Again
I am one of those who like to stay late at the cafe," the older waiter said. "With all those who do not want to go to bed. With all those who need a light for the night." "I want to go home and into bed." "We are of two different kinds," the older waiter said. He was now dressed to go home. "It is not only a question of youth and confidence although those things are very beautiful. Each night. I am reluctant to close up because there may be someone who needs the cafe.
I know well the delectable thrill of moving into a new house somewhere altogether else, in somebody else’s county, where the climate is different, the food is different, the light is different, where the mundane preoccupations of life at home don’t seem to apply and it is even fun to go shopping.
I grew up doing a lot of traveling. My mom left home when she was 15 and traveled to 48 different countries and speaks six different languages. So I grew up with my eyes open. She raised me so that if my heart says something is wrong, I have to go help. What's right is right and what's wrong is wrong.
Definitely as an actor, the experience you have, at least I'm talking for me, my experience as an actor is you go to the set and know what you're going to do, know your lines, you rehearse, you do your scene, you go back home. As a producer, for the first time I saw the whole picture in a completely different way.
I could play a cop, I could play a crook, I could play a lawyer, I could play a dentist, I could play an art critic-I could play the guy next door. I am the guy next door. I could play Catholic, Jewish, Protestant. As a matter of fact, when I did The Odd Couple, I would do it a different way each night. On Monday I'd be Jewish, Tuesday Italian, Wednesday Irish-German-and I would mix them up. I did that to amuse myself, and it always worked.
I did 'Spanglish' and went back home, and the next thing I did was my high school play. My agents at the time were like, 'Uh. What?'
Often when we realize how precious those seconds are, it's too late for them to be captured because the moment has passed. We realize too late.
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