A Quote by Ron Perlman
Every time you get on a stage or in front of a camera, the whole exercise is about imagination. You're constantly depicting something that doesn't exist, and trying to find the reality of it. Once you settle on that premise, everything else is a matter of degrees.
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I guess in my house when I was growing up, I was comfortable trying to be funny. And my dad, of course, it bugged him sometimes. He was trying to rest, and I was constantly trying to say something stupid to get a reaction. But I like doing these movies. You can do it in front of the camera and then it's over. I don't have to worry about being in front of too many people.
That's the thing about stage: It's something you can't find anywhere else. It's a two-and-a-half, three-hour experience, and it's a real relationship. You're sending out energy from the stage, but the audience is giving you back so much also, so that's also lifting you and pushing you forward as you're performing and giving you so much energy. You can't find it anywhere else, and that's why people get addicted to being on stage, and when they're not on stage are kind of looking for that and constantly searching for it.
I don't like to put too much effort into things. I find that once you get involved with special effects it is no longer about what is happening in front of the camera and I really want to concentrate on what is happening in front of the camera, like the man apparently peeing on the surface of the screen.
I think young writers should get other degrees first, social sciences, arts degrees or even business degrees. What you learn is research skills, a necessity because a lot of writing is about trying to find information.
When I was a kid in Woking, every week you went to the football dance, and every week the top kids would be wearing something different. You were constantly trying to catch up with them - which you could never do because, by the time you'd saved up enough to buy the item, they'd moved on to something else. That's the whole Mod thing, I suppose.
Everything has a purpose or premise. Every second of our life has its own premise, whether or not we are conscious of it at the time. That premise may be as simple as breathing or as complex as a vital emotional decision, but it is always there.
Remember, constantly, that when you talk about 'tense of a subjunctive,' you're not talking about time. You're slipping through degrees of reality.
On stage I'm slightly nervous than when I'm in front of camera. Because when on the stage, the mind can't waiver but at the same time, the energy to be on the stage makes me feel alive.
When you're on stage singing, you're naked. Your voice is something very intimate, and that's why I'm scared every time before I perform. It doesn't matter if I'm singing for a king or a queen or the Pope, it's enough to be in front of anybody. I suffer, but I can't do anything about it.
Sometimes you find people who are magnetic, but once they get in front of a camera, they freak out and get weird.
'Scandal' has been, for me, the most consistent time I've ever logged in front of a camera. I grew up in the theater, and I feel very confident and comfortable on the stage and in front of a live audience, but the camera is a very different medium.
I had a very active imagination as a kid, and I was constantly performing, whether I was making money doing it or not, whether it was on a stage in front of 1,000 people or in the living room in front of my family.
The trick is not to become somebody else. You become somebody else when you're in front of a camera or when you're on stage. There are some people who carry it all the time. That, to me, is not acting.
I'm an actor. Whether I'm on stage, in front of a camera or a microphone, what I do is the same - although with videogames it requires a lot of imagination.
Of course, you can never watch something like somebody else watches something like you, but nonetheless, you have to try. So I think on camera you learn a lot about how much the camera does for you, which is what is the great luxury of movie acting. Or acting whether it's TV or movies or whatever it is, that the camera's really such a gift because there's so much that it sees and does if you're willing to just be open and expose yourself and all of that. So you also learn what doesn't matter. And sometimes when you think about things, you think things matter that don't matter.
Being a Diva in a man's world, you're constantly in an uphill battle; pitching ideas, trying to get TV time, trying to get in-ring time, the whole nine yards.
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