A Quote by Rinko Kikuchi

There's something very... spiritual about fighting. It's physically very challenging. It's for killing people, after all, so it's taught me how to look at something head on. It's like living - confronting something. Everything for me came from films.
I was a lonely, frightened little fat kid who felt there was something deeply wrong with me because I didn't feel like I was the gender I'd been assigned. I felt there was something wrong with me, something sick and twisted inside me, something very very bad about me. And everything I read backed that up.
It's probably weird to think about an addiction like it's a sentient being, but that's how it feels. Like it's something living inside you. Something you can't get rid of because killing it means killing you.
I came from the Groundlings Theatre in L.A., and there, you're guaranteed to at least try something out in front of an audience. At 'SNL,' only the best stuff gets picked, and it's taught me a very defined language of comedy. You learn the structure of a joke, which is not something I was very good at beforehand.
Frankly, I get much more sensitive about what's written about me than how I look in a photo. I'm so used to people seeing my image in plays and films that what they think about how I look is none of my business. If they says, "Hey, he doesn't look good," I'm like, Whatever, because I know I look different from day to day. But if you're up there putting your heart into something and people reject your performance, that's very painful. The written word can kick your ass.
I consider myself something of a self-taught anthropologist. I try not to talk about something unless it's something I love. But if it's something that really annoys me, I fixate on it, learn something about it and then, when I'm onstage, it comes out.
There is something very strange and unsettling for me about making a work that doesn't fit with what's the norm or what's acceptable. There's something both liberating about it and challenging. I can imagine it doing more harm than good.
From somewhere, back in my youth, heard Prof say, 'Manuel, when faced with a problem you do not understand, do any part of it you do understand, then look at it again.' He had been teaching me something he himself did not understand very well—something in math—but had taught me something far more important, a basic principle.
What's on my playlist when I'm fighting is not so much hip-hop. Sometimes, it's something more inspirational. I get a chance to think about what I'm fighting for, like, my family. It takes me to that state because a lot of times, it's a spiritual warfare for me.
It felt like something was calling me to Israel, and that I had to go there to discover it. I don't know how else to explain it. In my head, I was thinking it was something about music, something I needed to hear. So I booked a plane ticket and left the next day.
For me, it's about the way I carry myself and the way I treat other people. My relationship and how I feel about God and what He does for me, is something deeply personal. It's where I came from, my family, I was brought up in a religious household and that's very important to me.
If you put me in a box, I'm a character actor. The thing that keeps popping up for me - it sounds really cliche - but I want to play something really physically challenging, something extremely demanding and strong.
There’s something beautiful and very circular about passing by something that was important to the person you loved, or touching something that once meant something to him — that brings me some peace.
This story is about the Baudelaires. And they are the sort of people who know that there’s always something. Something to invent, something to read, something to bite, and something to do, to make a sanctuary, no matter how small. And for this reason, I am happy to say, the Baudelaires were very fortunate indeed.
I'm very objective driven, so for me it's very important to know who I'm fighting, when I'm fighting, and roughly the direction I'm working in. It gives me that little extra push to do what I need to do to get the sessions, to work towards something.
You're always choosing the start point and the end point. And almost by definition, the most interesting period is where something happens, as a result of which something is different at the end. And so to me, the idea that you know everything about a character at the beginning is sort of ridiculous. Something has to be revealed. I like it when the deeper you go with the character, the more you see the layers start to peel away. It's more challenging to me, but it's also just interesting. Those are the things I like to watch. I like to watch the evolutions of something.
I had dance training from a very young age, 3 or 4... It taught me how to present myself, about preparation and working in an ensemble, and its something that carries with me to this day.
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