A Quote by Nicole Kidman
I think having my life be as private and quiet as possible is a way in which then I can go and play characters.
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I think having funny characters is just one way of having three-dimensional characters.
The most important thing to having a long career, as an actor, is diversity and being able to play different types of characters in different types of movies. I want to keep acting, all my life. In order to do that, I think it is important to go and do the bigger tentpole box office movies, and then also do more character roles.
I love doing heightened reality stuff, and having fun with the characters I play, especially in a kind of darker way, which I don't get to do in 'Primeval' at all.
There's nothing like working with the best actors possible, and if you have a piece of material like, 'Long Way Down' or 'Love Punch,' which allows you to play, then it's just a joy to go to work.
I love the theatre. It's a perfect life for an actor: you can do a couple of movies and then go and do a play, and then go back and do another movie. It's a nice way to live your life.
One of the things that I love when I go to a film or when I'm reading some book or whatever, is to be told a secret I thought only I knew and then someone says, "Oh my gosh, you know, too." And film can take us into private moments in a way that the theater, I think, kind of can't, and that's one of the reasons I like doing films. And the way a book can is that these little secrets and the private things that go on in our minds that maybe we haven't shared with anyone, and then someone writes it or shows it to you in a film, you think, "Oh, that's me. Oh my God, that's me, I have that secret."
It starts with the writing. We have to think of all these characters - we have to treat them all equally. We have to think of them as having an interior life and having motivations. When I'm drawing female characters, I'm looking for that. I'm looking for subtext. I'm looking for ways to make the reader relate to them in a way that goes beyond the pure aesthetic value. You know, just drawing an attractive woman really gets kind of boring after a while.
I understand fully that jobs are created by the private sector, having been all my life in the private sector, but I don't buy the argument that the state has no role to play.
It was really bizarre for me to go from being a very private and obscure person and then to be in any way on the internet - like having my picture or videos online.
If you make films, you're changing rhythm the whole time. You go from a quiet life to an absolutely turbulent life which is typical of moviemaking. And then you get back to your normal life and you have to have nerves of steel.
What I do know is, in little more than 30 years, we have gone from a nation where the “quiet enjoyment” of one’s private property was a sacred right, to a day when the so-called property “owner” faces a hovering hoard of taxmen and regulators threatening to lien, foreclose, and “go to auction” at the first sign of private defiance of their collective will ... a relationship between government and private property rights which my dictionary defines as “fascism.”
I have a lot of real life experience that I can draw on. And I think that shows in the characters that I play because I'm always trying to find somebody - or find characters to play that I can identify with on a personal level or relate to. And I think it makes for a little bit more of an honest portrayal.
And taking more money out of the private economy and having the government perform as it has poorly done with the stimulus I don't think is the right way to go.
I don't really compare any of the characters I play; I try to go into them being very open to what the characters can offer and what I can bring to them and then bring a being to life.
Writing is a completely private act. It's in a way like play but very serious play, and sometimes I can escape into the fictional world that I'm creating so fully as to see hours go by without my noticing it. I think that kind of suspension of time and that mindfulness is a real gift.
I think the success of every novel - if it's a novel of action - depends on the high spots. The thing to do is to say to yourself, 'Which are my big scenes?' and then get every drop of juice out of them. The principle I always go on in writing a novel is to think of the characters in terms of actors in a play. I say to myself, if a big name were playing this part, and if he found that after a strong first act he had practically nothing to do in the second act, he would walk out. Now, then, can I twist the story so as to give him plenty to do all the way through?
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