A Quote by Paul Dano
I really don't want to go to work every day convincing myself of what I'm saying. I want the material to make me a better actor; then I try to return the favor to the material.
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My dad, he worked rebar, an ironworker. Watching my pops get up every single morning, going into work, working hard - I think that really made me want to work that hard, wanted to make me get up early and go for a run or get a lift in or get some extra hitting in and really try to better myself every day.
Those titles, Executive Producer or actor, are unimportant. I always try to approach my role as an artist. The first thing you want to do, that you attempt to do as an artist, is to have some sort of input into the material that you are working on. That is how my process begins; I say to myself: "I want to do this kind of work or I want to do that kind of work."
It [moviemaking] is not really done on a yearly basis. It's about how the material, and when the material comes in. If you develop your material and the script comes in great and you can attach a director and a cast and go off and make it, then I could make, I don't know, six [movies] a year. Or I could make one. It really depends.
My mentality is like a samurai they used to train every day, work on their technique to make themselves better, almost perfect, perfection is impossible but every day you get closer and that's what I want . Every day I want to get better than I was the day before. I want to use every second of my life, every time I have in my life to make me a better fighter. It's more than a job it's a way of living.
I want every day to be the most boring news day ever. I want every day to be about spelling bee champions and baby basketball. It's better to have no comedy material than a horrific news day.
A big part of making an album is that you want to have enough material - you want to have enough stuff for people to hear and know that it represents you. So it does sometimes turn into a situation where you're saying to the person you're working with, "Well, what do you want?" But then there are other times when I work with people and they'll turn to me and say, "How do you want to do this?" And that's actually when I work best.
I just really try to stay focused on what the material is wanting to do. My basic assumption is that no one will ever listen to it anyway. It's fidelity to the material. That's my contract: It's me and the material. And if it connects with other people, I'm thrilled.
I wanted to play characters that were going to make me better and really challenge me to raise my skill level up or that were just interesting to me personally. I want to be the best actor I can be, and I want to be the most creative actor I can be. I want to take on roles that will move the chain to where I finally want to go.
I always go back to the original material. I want a good connection as the composer and writer of the score to the director and to the source material. It's really important.
For me, I think you make a choice what kind of actor you want to be, and then it's kind of the material you choose.
Every once and a while somebody writes a script, but even regardless of what age you are, most of the actors would all agree that it's all based upon material and the material has got to spark with you. It may be great material but you think it's great material for somebody else. Or it's great material and I'm perfect for it. So, you just have to make that judgment and if you feel in the mood to do it.
To maintain a consistency when people come to see the band takes a lot of work; it takes a lot of discipline. I go to the studio every day and sing and play. I never did that when I was, like, 30. I'd probably have a drink and walk on - and see what comes out. But now if there's ten albums' worth of material people are coming to hear some of, and they've paid money for a ticket, you become a different person when you go on and you want to give the best show you can. You want to be better at what you do.
It is not enough to do, one must also become. I wish to be wiser, stronger, better. This--" I held out my hands "--this thing that is me is incomplete. It is only the raw material with which I have to work. I want to make it better than I received it.
Simply, if you're working with good material, then it's right there, and you don't have to try so hard as an actor; you don't have to do so much. Just let the material sit inside you and let it come out. Just say the words. That was the main thing that I learned from doing Aaron Sorkin's work - say the words, and everything else will happen.
Something that's good in the mini-culture of 'Happy Endings' is that the goal is to try and make each other laugh. There is a pretty high bar, and you want to make the writers laugh, and you want to elevate what's already great material - and also, we're like, 'Who is even watching this? Let's just go for it.'
So, it's not gonna be easy. It's gonna be really hard. We're gonna have to work at this every day, but I want to do that because I want you. I want all of you, forever, you and me, every day. Will you do something for me, please? Just picture your life for me? Thirty years from now, forty years from now? What's it look like? If it's with him- go. Go! I lost you once, I think I can do it again, if I thought that's what you really wanted. But don't you take the easy way out.
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