A Quote by Sonya Walger

You hope that when you're playing someone possibly unsympathetic that you can bring them something redeeming, something people can hang onto. — © Sonya Walger
You hope that when you're playing someone possibly unsympathetic that you can bring them something redeeming, something people can hang onto.
Nobody's really unsympathetic, I think. People do good and bad things. If a character's totally unsympathetic, they're not real and I'm not interested. Even the real monsters have to have a spark of something you can relate to.
I could always flip between emotions and be available to suddenly do something new. I think it's a part of playing, and you hang onto it when you're a kid.
You don't know what someone's going to walk away from a movie with, but you hope it's something positive, but if nothing, you want them most basically to be entertained and engaged. That's your job. But you also hope to give them something to chew on or maybe some insight into the human existence, you hope a little bit. Not to sound too lofty.
The guys in my band buy instruments and sell and trade them. But if I have something I hang onto it. Everything is sentimental to me.
If my performance touches someone or helps someone understand themselves a little better or gives them a laugh, I feel like I gave them something. I want to touch people's lives and bring them along with me.
I don't mind playing someone's girlfriend or wife if I have something to say, if I bring something to the picture, if I can be strong and powerful and say smart things. If not, then it's just boring.
We're all struggling to get out of the past. We see something that reminds us of something, and then we bring our baggage into the present. Then we project it onto people constantly.
Remember that for someone to be so mean, something must be going on with them. Something must be happening to make them so unhappy that they feel the need to bring others down. I try to have empathy for them.
For a lot of explosions and stuff like that [in Transformers] you're harnessed to something getting swung in the air or dragged onto something or thrown onto something.
There's two types of hecklers. If someone says something really funny it's normally them heckling as part of the show. They're trying to add onto one of your jokes. If someone says something really funny, I've never seen a comedian abuse them, you always sort of tip your hat a little bit if they nail it.
We just feel so blessed, like God picked us two goobers to do this crazy thing and speak up for people that don't have a voice and give them something to hang onto. If we've done that for one person, I think we've done our job.
What is best to hope for and what everyone is working towards is to elevate the quality of women's sport and to bring it to a level where it is seen as something that is very entertaining, something to be admired, to be looked up to, to put it in that level playing field as a product to be sold equal to the men.
Hope and fear come from feeling that we lack something; they come from a sense of poverty. We can’t simply relax with ourselves. We hold on to hope, and hope robs us of the present moment. We feel that someone else knows what is going on, but that there is something missing in us, and therefore something is lacking in our world.
The women I'm attracted to playing I hope will mean something to someone.
For a comedian to kind of catch onto something right as something's catching on in our culture, a lot of it is luck, and you hope the joke is funny.
One of the things about crowd work that's so exciting is when you discover a character in the audience who's interesting or funny, who you can vibe off of. If someone's got a weird job that you can make reference to throughout, or you can bring that person onstage - humiliate them, or celebrate them! You can put people in conversation with one another. The best is when something that they're doing can reflect back on something that you're doing.
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