A Quote by Paul Giamatti
Sometimes, I think I may be more recognizable because I'm character-looking.
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I threw a lot more curveballs in college and the minor leagues. Up here, they're looking for that pitch. A curveball is more recognizable out of the hand than a fastball or changeup. They're taking them or hitting the mistakes I make with them. I don't want it to be so recognizable. I'll have to work with that because that was my pitch.
I think sometimes I'm more fond of doing the research for the character because you learn so much. Sometimes shooting is really difficult because you wake up early and you're always hurrying. And sometimes I don't know what I'm doing. I'm here and there.
Sometimes I think too much, or sometimes I don't think enough as the character. Sometimes you just miss a moment, or sometimes you hear something that a character's saying that you haven't heard before and you react differently.
Sometimes I get a little exhausted by shows or movies that are constantly throwing famous people on. And I find it so much more exciting to not have that when I'm watching something. I think it allows you to get more lost in something and also to bring more attention to more unknown or less recognizable people.
I think we should be looking at the defense and seeing where we can actually be more efficient because I think that, you know, sometimes during the contracting process, we lose some efficiencies in that regard.
I think sometimes actors are drawn to good television because you have more time to sell it, you have more time to shape a character, and to tell a story, and that's really appealing.
It doesn't help anyone to judge their happiness or career by looking at where others may or may not be. Dad said it best: 'All the time you're looking left and right at other people, you're neglecting what's in front of you.If you focus on looking straight ahead, you can take the odd glance at the future.' He's got a way of saying things sometimes that just puts everything into perspective.
The way we treat people we think can't help or hurt us - like housekeepers, waiters, and secretaries - tells more about our character than how we treat people we think are important. How we behave when we think no one is looking or when we don't think we will get caught more accurately portrays our character than what we say or do in service of our reputations.
I think that ‘New Moon’ was my favorite book as well mainly because I like the juxtaposition of all sudden people being…it’s such a hyped character, Edward, and there are so many people looking at him like a romantic hero. In ‘New Moon’, the way that I read it anyway, he’s just so humbled. It’s a character who’s looking at Bella and thinking that he loves something too much but he can’t be around. He deliberately starts breaking up their relationship which I think is a very relatable thing and I think is very kind of painful.
I feel like each time I do something I want it to be more and more recognizable that it's me so, by the time I do a film, my films will be as recognizable as someone like David Lynch or someone who's got their own thing going on.
I think, as directors, they may recognize, more than the rest of the body of filmmakers, exactly what you do as a director, because I think sometimes the conception is if the camera isn't swinging around, and it's not pyrotechnic or worthily melodramatic, then the direction is uninvolved.
When you're looking for a house, you're not looking for a house that's perfect. You're looking for that house to have character. And I think it's those little bits of humanity they come from the music. That's what the music brings out when you have that, it brings out the character of a song. You go back and listen to 30, 40 years of music, and all the great, great songs that we've had in our lives, they all have that character. They have that human nudge, they all have that human relation. You can relate to it.
When I'm looking for a strong female character, or a strong character at all, I'm looking for a character that has a purpose in that story, that has an interior life of some sort. They don't have to be physically strong; they don't have to be morally strong or ethically strong, because men and women come in a huge variety of all of those things. Emotionally, ethically - I'm less concerned with that. I just don't want them to be props. That's the only thing that offends me.
We build character in order for us to withstand the rigors of combat and resist the temptations to compromise our principles in peacetime. We must build character in peacetime because there is no time in war. Character is the most important quality you can find in any person, but especially in a soldier. It is the foundation that will get anybody through anything he may encounter. Reputation is what people think you are; character is what you are- that is the staying power.
A good leader has a plan that consists of changing simple pictures. Just because a group of people has a bunch of boards, hammers, and nails does not mean that they are building a house or even anything recognizable. Sometimes leaders think they are doing their job just because there is a lot of hammering going on. As a society we like the sound of hammering, but we are uncomfortable with the sound of thinking, which is silence.
Many writers write across difference of one kind or another. Sometimes the difference is large and recognizable: gender, or race, or religion, or sexuality. And sometimes the differences are smaller. ... Where authors get into trouble is in trying to make those different characters stand in for whole groups of people, or for creating characters only to fetishize or explore their supposed otherness. Your character can be wildly different from you, as long as he's written with respect and, moreover, specificity.
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