A Quote by Ron Reagan
I could share an hour of warm camaraderie with Dad, then once I'd walked out the door, get the uncanny feeling I'd disappeared into the wings of his mind's stage, like a character no longer necessary to the ongoing story line.
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Over the years I have forged intimate familial ties with these characters, who are reflections of a portion of myself. Consequently, even a character who appeared only once in a short story waits now in the wings, concealed by the curtain, for his next appearance on-stage. Not one of them has ever broken free of his familial ties with me and disappeared for ever - at least, not within the confines of my heart.
We talked--recent history only--and Lucas relayed the story of how Francis came to be his roommate. "He showed up at the door one night, demanding to be let in. Napped on the sofa for an hour, then demanded to be let out. It turned into a nightly ritual, with him staying longer and longer, until at some point I realized he'd moved in. He's basically the most brazen squatter ever.
Write with the door closed, rewrite with the door open. Your stuff starts out being just for you, in other words, but then it goes out. Once you know what the story is and get it right — as right as you can, anyway — it belongs to anyone who wants to read it. Or criticize it.
For how smart we think we are, how facile with words, we don't have a word for this feeling, the feeling of being blessed by belonging. If the universe is an unfolding bud, then I am a part of its creative surge, along with the flowing of water and the growing of pines. I can find a kind of camaraderie in this universe, once I recover from the astonishment of it. Or maybe not camaraderie exactly. What is the opposite of loneliness?
I love all of the ballets that have a really strong story in them where I get to play a character. I don't enjoy the ones that are more technical without a story line and it's just me on stage dancing.
I remember my mother would get upset with me 'cause she said I walked like my dad. But I think it was more like, there's something about you that's not quite ladylike and femme. And then when I got older - once I came out, my mom and grandma were horrified and just kind of like, where did we go wrong?
Usually the beginning of a story that people hear a lot. For example, "My girlfriend is upset about her new haircut" or "My dad keeps losing his car keys." And then I just think of different ways the story could end. "My girlfriend is upset about her new haircut. I don't understand why she's crying. I'm the one who has to get a new girlfriend." Then I try it out on stage. I don't do a lot of re-writing. My jokes either work or they don't. The trick is just to write a ton of jokes.
I work out twice a day, once in the morning and once before bed. I'll start with half an hour of running and then some yoga to stretch everything out so everything is warm.
Once, and only once, I walked on stage and my mind went utterly blank! I had no idea why I was there! My fellow actors had to rescue me. I was very young and new to the business, so I'm glad it didn't give me stage fright for the rest of my life!
It doesn't matter if a character is a lawyer, a cop or a geography teacher. If there's a story in there, where the character has a passion and a fire in his belly and story to tell, then it's enough for an actor to get excited about.
In film, the camera can get an array of shots so the audience can see the emotion the character is giving off. Using close-ups on the character's face really helps get the message across. On stage, you can't do that. But the stage has that live feeling that you can't get anywhere else because the audience is right there.
The average mind requires a change of environment before he can change his thought. He has to go somewhere or bring into his presence something that will suggest a new line of thinking and feeling. The master mind, however, can change his thought whenever he so desires. A change of scene is not necessary, because such a mind is not controlled from without. A change of scene will not produce a change of thought in the master mind unless he so elects.
For me, it's nice to have a character who can never find love and have that be the running theme, but I think when you open the door to a story line about relationships, you open the door to another realm of comedy.
If we're lucky, writer and reader alike, we'll finish the last line or two of a short story and then just sit for a minute, quietly. Ideally, we'll ponder what we've just written or read; maybe our hearts or intellects will have been moved off the peg just a little from where they were before. Our body temperature will have gone up, or down, by a degree. Then, breathing evenly and steadily once more, we'll collect ourselves, writers and readers alike, get up, "created of warm blood and nerves" as a Chekhov character puts it, and go on to the next thing: Life. Always life.
When I'm working on a picture, I get up at 6 o'clock in the morning, report to the sound stage for rehearsals at 8, then appear before the camera from 9 to 6. I dread going to lunch, because during that hour my muscles get cold and I have to warm them up again. Standing still is the most miserable thing a dancer has to do.
the New Englander landed on a stony, barren tract, and a large share of his strength during two centuries has gone to force a living out of it. Hence he has come to regard economy - a necessary unpleasant quality at best - as the chief of virtues. He has cultivated habits which verge on closeness in dealing with food, and with the expression of feeling, and even - his enemies think - with feeling itself.
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