A Quote by Simon Helberg

There are bits at the table read that destroy, so much so that we can't wait to do it in taping. And then, no reaction. And then there are times when I can't get the right read on a line in rehearsal, and then the audience howls at it. The strange thing is I still don't know why it happens like that. It's not like afterwards I think, 'Now I know why that worked!'
I see the audience as the final collaborator. I think it's kind of bullshit when people say, "I'm not interested in the audience reaction." I'm like, "Then why do you do theater? You can write a book, then you don't have to see how the audience reacts." It's a living, breathing thing.
Young screenwriters are always very frustrated when they talk to me. They say, 'How do we get to be a screenwriter?' I say, 'You know what you do? I'll tell you the secret, it's easy: Read 'Hamlet.' You know? Then read it again, and read it again, and read it until you understand it. Read 'King Lear,' and then read 'Othello.'
Even then, I didn't quite know what to make of it [captain Kirk death]. I was mystified by why I was doing it, why I was so driven to do it, and why it was affecting me like it was. I still don't know what it means. It's a strange singular experience. I don't even know anyone to talk to about it because I don't know anyone who's had that experience.
Read carefully, then don't read; work hard, then forget about it; know your tradition, then liberate yourself from it; learn language, then free yourself from it. Finally, know at least one form of magic.
I don't like to read anything on the radio for the very first time, because I don't have any notion of a reaction. When I read it out loud, then I get an idea of that, and more of an idea of how to read.
Simi, why did Acheron send you here? (Astrid) To protect you from Thanatos so that your sisters don’t get all freaky and destroy the world. Or something like that. I don’t know why all of you fear the end of the world. It’s not so bad, really. At least then akri’s mama be free. Then she wouldn’t be so cranky at the Simi all the time. (Simi) Ash’s mother is still alive? (Zarek) Oh, akri get mad whenever I tell that. Bad Simi. I not talk anymore. I need food. (Simi)
Honestly, my splurges happen at Target. I'll go and spend, like, $600, and I don't know why! And then I'm really happy about it, but then I'll be like, 'Why did I do that?!'
Read! Read! Read! And then read some more. When you find something that thrills you, take it apart paragraph by paragraph, line by line, word by word, to see what made it so wonderful. Then use those tricks next time you write.
The sign, which says: "Do not, under any circumstances, open this door!" - Of course, I've read it. Why do you think I want it opened?.. To see why they wanted it shut, of course. This exchange contains almost all you need to know about human civilization. At least, those bits of it that are now under the sea, fenced off or still smoking.
I read a book twice as fast as anybody else. First, I read the beginning, and then I read the ending, and then I start in the middle and read toward whatever end I like best.
I read very little contemporary anything... I don't think I read what other people read, but then why would I, considering what I do?
Curiously, the balance seems to come when writing is woven into every aspect of my life, like eating or exercising - one flows constantly into the next: I'll wake up and have coffee, read the news, then write a letter or two (always in longhand), then go teach, and after teaching write a bit in a journal - dreams, what I had for breakfast and lunch and why I had it, what's on the iPod, sexual habits, etc. - then read a bit, then work on a real bit of writing...you get the idea.
Hazel had read enough books to know that a line like this one is the line down which your life breaks in two. And you have to think very carefully about whether you want to cross it, because once you do it’s very hard to get back to the world you left behind. And sometimes you break a barrier that no one knew existed, and then everything you knew before crossing the line is gone. But sometimes you have a friend to rescue. And so you take a deep breath and then step over the line and into the darkness ahead.
I like to go back and read poems that I wrote fifty years ago, twenty years ago, and sometimes they surprise me - I didn't know I knew that then. Or maybe I didn't know it then, and I know more now.
I work out the other bits, too, but I need to know what I look like, very early on. And then it's like a template; I'll fill that person out. If I get that out of the way, then I'm all right.
If you want to know why some kids can wait and others can't, then you've got to think like they think.
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