A Quote by Shaun Evans
I think when you're in the middle of a piece of work, there are things that bleed over into your life. You're spending a large portion of your day pretending to be somebody else, to tell somebody else's story.
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I think the purpose of a piece of music is significant when it actually lives in somebody else. A composer puts down a code, and a performer can activate the code in somebody else. Once it lives in somebody else, it can live in others as well.
It's not a good feeling to hide a huge part of your life. If you were meant to be somebody else, you'd be somebody else, so don't change who you are.
Putting somebody else's pants on and pretending to be somebody else is occasionally, as you grow older, horrifying.
You were created to make somebody else’s life better. Somebody needs your smile. They need your love, your encouragement & your gifts.
I'm able to lead my life as well as make a film. My wife and my friends and people around me know that I do tend to distance myself a little bit during the making of a film, but I have to, it's a natural part of the process for me because you are indulging in the headspace of somebody else, you are investing in the psychology of somebody else and you are becoming somebody else, and so there isn't enough room for you and that somebody else.
What I'm trying to describe is that it's impossible to get out of your skin into somebody else's.... That somebody else's tragedy is not the same as your own.
I always figure, you come to a party, you gotta know somebody. And somebody leads to another person and leads to somebody else, somebody else. That's one of things that I really enjoy doing.
I tell my students, 'When you get these jobs that you have been so brilliantly trained for, just remember that your real job is that if you are free, you need to free somebody else. If you have some power, then your job is to empower somebody else. This is not just a grab-bag candy game.
I think one of the hardest things about doing a book in the first person is that to a certain extent each day, when you begin to do your work, you're climbing into somebody else's skin.
I've always felt that God, himself, has chosen me for his purpose, for higher callings whether it's to be an inspiration to somebody else's life, whether it's to change somebody else's life, or whether it's to be that support or light in somebody else's life.
If you gauge how you're doing on whether somebody is responding vocally or not, you're up a creek. You can't do that; you kind of have to be inside of your work and play the scene. And tell the story every day. Tell the story. Tell the story. Regardless of how people are responding, I'm going to tell the story.
Hold a baseball in your hand ... Feel the ball, turn it over in your hand; hold it across the seam or the other way, with the seam just to the side of your middle finger. Speculation stirs. You want to get outdoors and throw this spare and sensual object to somebody or, at the very least, watch somebody else throw it. The game has begun.
The great thing about a song is that no one has to know your story. But if you tell it in a way that has clarity and means something to somebody else, then it can apply to their story.
It's important that we share our experiences with other people. Your story will heal you and your story will heal somebody else. When you tell your story, you free yourself and give other people permission to acknowledge their own story
Your experiences, everything you've gone through, good or bad, it's not for you - it's for helping somebody else. It's to relate to somebody else in need.
I always panic on the first day of work. You can do all the Stanislavsky-backstory homework, but when that moment arrives and you are in the clothes, hair, and makeup of somebody else, and you're saying the words created by somebody else - I never know how to do it. It's a complete mystery to me.
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