A Quote by Michael Sheen
In terms of how prudish Americans were in the '40s and '50s, I have absolutely no idea. I do know about the character that I play. And I don't think it's about being prudish. I think it's about trying to balance a sense of control in this man's life.
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I am a bit prudish, I think. It's hard for me to write about sex, and I don't really care to read about it, either.
As an actor, you have to just think about the truth of your character. You have to think about how to play the character in the way that you know it needs to be played in your heart and why you were hired.
If we have a choice in how we die, I would say that's a privilege. I think we have a sort of prudish approach to death in the West, though certainly not in Mexico. In Mexico, it's a little bit freer. We're not so precious about it.
In terms of being naked, I'm not very prudish.
She once said, 'I'm really a little prudish, which people may think incongruous'. I take a prudish point of view on certain films, books, and trends. Then, I pull myself up short and ask myself how Gypsy Rose Lee could possibly be this way.I thought that quote was so telling, a key insight into the way she so carefully separated who she was from her meticulous creation.
I remember working with Jackie Chan on Shanghai Noon [2000], and when we were working on the script, I thought that my character thought about being an outlaw the way a kid today would think about being a rock star, as a way to impress girls. So it was just kind of a funny idea, but once we had that idea, it changed the character and made it something that was funnier to me to play.
I think there is an immense charm and humanity about the Bollywood structure, probably in the way there was about Hollywood film in the '30s and '40s. Somehow they were less distracted about hardware, and more about production values and people, you know?
I think all the songs [at Moth] are about different things, but if we were to speak about it as a whole, it's really about, it's about joy, and about sensuality and vulnerability and also fun, energy, living in New York in 2015, being out of control, wanting to be in control, failing! It's a sort of story of our lives.
I never thought about how I didn't have a cell phone or I'm in 2011. I was just so happy to be able to be a character in the 30s and there are these actresses that I really liked in the 40s, 50s and 60s in American movies that I've seen since I was a little girl. But you don't really think like that when you prepare for a role.
From the age of seven, I knew I wanted to play football - I didn't think about it in a professional sense in terms of making money from it; it was more about the social aspect of being with my friends and losing myself in the sport.
The idea of flux, kind of constant change, whether it be our sense of time or geological time or cosmic time. It's always there, and I think that maybe it's a way of dealing with the idea of mortality, trying to acknowledge the fact that all things change, and whereas, maybe death is the end of one state of being it's the beginning of something else. I'm not talking about going to heaven or being reincarnated as a toad, I'm talking about the idea that the molecules in our bodies, or at least the atoms, were here at the beginning of the universe, and the sense that we are basically matter.
When we think about making the people in the audience happy, or trying to make them feel something, it kind of goes to waste. Usually we have our best skates when we just think about each other, and we just think about being in unison, and think about the program we're trying to do.
Fame is not just about being able to get out of a limo in Leicester Square, it's about trying to get into your house when there are eight photographers outside. When you think about being famous, you don't think about all that stuff. You think about the glamour.
I had a lot of fantasies about being an architect when I was young, and I think I still do. On a visceral level, I'm very intellectually and emotionally attracted to acknowledging how space functions in our lives, both in terms of pleasure and in terms of control, and in terms of all those factors that form a life. I'm also very anxious and maybe repulsed by how superficial that whole dialogue can become.
I am kind of prudish and I have very strict standards about how I present myself. But one of the things that I've always stood by is that women are beautiful and sexy. We shouldn't be afraid of that. [But] we need to make sure that we present that beauty and that sexiness in a way that says we are in control of our bodies. We're strong, we're classy, we're beautiful, powerful beings to be reckoned with, not victims.
I know that part of why I was excited to do this was the sense of play and childlike wonder and the spirit that's in the Daniels' work. I think we're tracking some issues that are actually quite sad or lonely but I think in a joyful, creative way. So I like that balance. I think singing in the woods, the music and spirit of that - there's something very pure about the film [Swiss Army Man].
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