Nothing affects my acting. Acting is something I do with my soul so it embodies a lot of things. For me, I don't know about anyone else, acting is spiritual, so if I do not embody a character or a story or a script, it's going to be extremely difficult for me to be convincing and I don't like that because I am somewhat of a perfectionist
You talk about the [armed] service teaches you how to depend on each other, the service makes you aware of the common good and strips that down. Guys who go into service get to have that. But that's a high price to pay in this day and time with going into service.
You don't pay any attention to anything anyone else says, no opinions. The important thing is to explode with a story, to emotionalize a story, not to think it. You start thinking - the story's going to die on its feet.
'Bubba Ho-Tep' was an accidental story that turned out to be my first film adaptation, and it's still going strong in story and film.
The Nihilistic Troll might pretend to be acting in the service of some cause or leader, but don't be fooled. The cause and their supposedly strong convictions are simply a way to justify and provide cover for their abusive behavior.
I find any sort of acting that doesn't have any humor in it is mind-numbingly boring. 'Serious acting' is the kind of acting that I don't ever respond to.
Style. People talk about it being stylish and beautiful, that's at the service of the story. Style for me means nothing without substance and there are moments and things about the film that are stylish but hopefully at the service of the story.
John Cassavetes' films have really altered the way I see film and acting and storytelling and emotion and love, so I see acting as this incredible revealing of human nature and this means of telling our story, sharing our voice with the world. That's what acting is for me. It allows for people to experience things through the character, through the story.
You see, when I go on stage I perform with just a guitar and you have to have very strong material to hold an audience from getting bored or restless. One strong way of doing that is the story because everybody will listen to a story.
Perhaps the highest goodness attainable is a life of service to all mankind. Such an ideal is supported in nearly every page in the Gospels-the parables, the sermons, and the countless acts of service by our Lord Himself. The ideal is not limited to any particular kind of service, nor a given quantity of service. The ideal is accepting life itself as a trust to be used in the welfare of mankind. It is a life that is glad for the chance to be of any help, an attitude that 'service is the rent we pay for our own room on earth.' (Lord Halifax)
Those called to the service of governance in the church need to have a strong sense of justice, so that any form of injustice becomes unacceptable.
If I do a scene with an actor who doesn't have much experience, I say, 'I tell you what we're going to do: You just listen to me, and then you respond. We don't have to do any acting.' And that's good advice because you shouldn't see the acting.
The old age of women is bearable only on condition that they do not take up any room, do not make any noise, do not demand any service; on condition that they render all the service that is expected of them, and actually have no existence except for the good of others.
There never were any roles for my kind of acting. That's the story of my life.
My theory is that everything an actor does, from the way he looks at his watch to the way he moves across the stage, is in the service of advancing a story, and in that sense, it's all writing. In that sense we, while acting, write.
That's the thing about acting - it does have the feeling of downhill skiing. When it's really all going right, you know your lines, you know what's important to your character, you pick the strongest reactions possible to elements in the story. But then you let it all go and you're in the moment and stuff happens. It surprises you and it's super strong; it's like you're living life in a slightly heightened way in the time between "action" and "cut."