A Quote by Peter Finch
I do not believe that with a fictional character you can force yourself too far away from yourself. There has to be some of you in it.
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It's more difficult playing a real-life person than a fictional character - you can go easy on yourself with a fictional character.
For me, there's a fine line between telling a story that's fictional with lots of details and then removing yourself too much from it, so it's bloodless, a little too fictional.
When you're portraying someone, whether they're real or fictional, you have to find some kind of hook where it feels real to you because if you don't believe it yourself, then no one else is going to believe it.
Everyone saying, 'She'll bring back women's skating. This will be the one to watch at the Olympics.' And they say things that are so far away, but really, you have to bring it back in and look at the next competition, the next day, what you want to accomplish because if you get too far ahead of yourself, you can trip yourself up.
The libertarian approach is a very symmetrical one: the non-aggression principle does not rule out force, but only the initiation of force. In other words, you are permitted to use force only in response to some else's use of force. If they do not use force you may not use force yourself. There is a symmetry here: force for force, but no force if no force was used.
I don't think I have something that's pronounceable as a philosophy. ... When it was fashionable to say, "May the Force be with you," I always said, "Force yourself." ... I'll say again then, "The Force is within you. Force yourself."
You have to expose part of yourself to create a character deep enough for readers to care about. You try not to because it's hard and at times shameful, but then when you read those pages over and you see they have no life to them so you throw them away and force yourself to be more honest. So I suppose the answer is I see myself in all my characters, in their best moments and in their worst.
If you can hit your opponent with two punches, you don't hit him with one. Get off with some bad intentions in there. Believe in yourself. A guy can feel it if you don't believe in yourself. Set your mind to make yourself do it.
Sometimes perception is almost more important than the skill level of an actor. And if you give too much away, you have nothing to take for yourself and put onscreen. If people feel like they know you too well, they won't be able to indentify with the character you're trying to portray. Or they'll feel that you're just playing yourself, and then you just become a personality actor. And that's the death of any actor.
I started making work that I assumed would be far too garish, far too decadent, far too black for the world to care about. I, to this day, am thankful to whatever force there is out there that allows me to get away with painting the stories of people like me.
For an actor to have the chance to go and play something that's far away from yourself, physically and also in terms of personality, character, is so much fun.
The key thing about force protection is... if you focus too much on force protection, and you disengage yourself from the community, you're putting yourself at greater risk because you need to interact with the community in a positive way to gain the intelligence you need.
And identity is funny being yourself is funny as you are never yourself to yourself except as you remember yourself and then of course you do not believe yourself.
You have to be willing to expose yourself, at least to yourself, to get to some kind of truth about a character.
You have a certain objectivity, as a member of the audience, and you can come away maybe being provoked into a certain discourse or a certain arena of questioning, regarding how you would deal with things that your character has to deal with. Whereas when you're doing a film, once you start asking, "What would I do?," you're getting the distance greater between yourself and the character, or you're bringing the character to you, which I think is self-serving, in the wrong way. The idea is to bring yourself to the character.
If you force yourself to write away from the piano, you come up with more inventive things. If you're too good a piano player, as some composers are, the music may become flavorless and glib. And if you're not a very good pianist, you're limited to the same patterns.
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