A Quote by Rebecca Hall

In high drama or high tragedy or anything, it's not really human unless there's some humor at the same time. And vice versa. So I guess I tend to gravitate towards projects which tread a dodgy tightrope between two things, which aren't really one or another.
I think that I am interested in the resonance between character drama and high stakes, either situational or political or social or other kind of elevated drama, and I tend to find that those things combust.
People tend to disappear from showbiz because they cant wait between two projects, which often takes a lot of time.
It is time that capital and labor realized that their interests are really comutual, as interdependent as the brain and the body; time they ceased their fratricidal strife and, uniting their mighty forces under the flag of Progress, completed the conquest of the world and doomed Poverty, Ignorance and Vice... Unless labor is employed, capital cannot increase - it cannot concentrate. Unless property rights are held inviolable and capital thereby encouraged to high enterprise, labor is left without a lever with which to lift itself to perfect life and must sink back to barbarism.
The discovery I made was that, really, in America, if you went to high school in our country, it doesn't really matter where you went to high school. In a funny way, all high schools are the same.
My energy level is very high ... how ambitious it all is depends on lots of different things. But pretty high energy level. I take on a lot of projects at the same time.
Judges of elegance and taste consider themselves as benefactors to the human race, whilst they are really only the interrupters of their pleasure ... There is no taste which deserves the epithet good, unless it be the taste for such employments which, to the pleasure actually produced by them, conjoin some contingent or future utility: there is no taste which deserves to be characterized as bad, unless it be a taste for some occupation which has mischievous tendency.
I don't know if I was popular in high school. My school was actually not really clique-y, which was nice. I went to a very artsy school, so everyone was kind of friends with each other. I was trying to be popular more, like, in junior high and elementary school and dealt with all that backstabbing and drama.
I always gravitate towards the independent side of things, just because those are the stories I always fall in love with, but you don't really get paid, and living in Los Angeles is expensive, and I have a mortgage to pay. So it's good to jump onto a studio film and then in all my other time do small passion projects.
After 'Prom Night' I did two movies where I was playing a prostitute. I gravitate towards characters that have some sort of inner turmoil or some sort of character arc. That's the great thing about acting, so many different things and being really diverse in your choices.
A lot of the time, a moral compass is all that separates a hero from being a villain; otherwise, the two are very much the same. Both are generally the richest and most complex characters, and they get to have all the fun. I guess it's those types of roles that I ultimately gravitate towards.
We've got to temper anything we say with that. On the other hand, you've got to be serious about what you do. And you've got to understand the price you pay for frivolity or just for greed - it's a very high price, especially if you're involved in this sacred material, which is about the human heart and human desire and human tragedy.
Often, contrasts bring art to life: the bright speck of paint on a dark canvas; the tightrope walk between humor and tragedy.
I can be out auditioning but a lot of times it's word of mouth more than anything - having worked on other projects with people who might see you and recommend for other projects and vice versa.
Some things are very low profile, but if they excite me creatively, I accept them. Sometimes there are high-profile projects, and you have to do it. We all have human limitations. It is a painful decision to turn things down. Even accepting 'Slumdog Millionaire' was a decision that I had to sacrifice another project.
I was in orchestra in high school, but I really started when a friend of mine who's a drummer showed me some things. I was always just really fascinated with drums, it was the instrument I was always drawn towards. My ear sort of went to rhythmic aspects of music and songs.
There's high, and then there's high, and to get really high--I mean so high that you can walk on the water, that high--that's where I'm goin'
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