A Quote by Sophie Okonedo
Being a character actor, I can go on until I'm 70 or 80; I'm not bound to the way I look.
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How you look is part of what acting is, but the way I look at it, every actor is a character actor. Someone once told me at a casting, 'You're a character actor in a leading man's body,' and I can live with that.
When you look at what you get in a cable subscription, it is a spectacular value. For $70 or $80 a month is what it would cost a family of four to go to the movies one time.
In the 60?s there was a look. In the 70?s there was a look, and in the 80?s. Now, it's a free-for-all.
In the 60's there was a look. In the 70's there was a look, and in the 80's. Now, it's a free-for-all.
When you really deep down look at it, we go to bed every night, get up every morning, stay here for 70 or 80 years, and then we die.
When you go for something because you're curious about it, you get psyched up about the chance of getting into it. It's like an actor meets a role, and you slip into that body and see what happens, to experience certain conditions, to adopt a certain character. Even shooting is a study of the character. I think both the character and the actor, and eventually the filmmaker - myself - are finding a way to accept their environment and being accepted and feel comfortable of themselves.
I didn't really look like a character actor, yet those were the roles I loved to play. If you were a character actor who didn't necessarily look like a character actor, you had to play bad guys.
I never think of yesterday. Can't do anything about it. I'm a positive guy. When you really deep down look at it, we go to bed every night, get up every morning, stay here for 70 or 80 years, and then we die.
The main thing is the ability to control your instrument, which, in the actor, is yourself. Look the way you want the character to look. Sound the way you want the character to sound. Once you've trained the instrument to do what you want, you're in control, and you're free.
Absolute 80's is three hours of mainstream 80's music. I also do New Wave Nation that is more cutting edge. It is more punk stuff from the 70's to the 90's.
I love New York, but it's a rough city. It's not dangerous now the way it was in the 70's or the 80's, but it's still a rough city. It's hard to hack it there. Life is harder than it is on the West Coast. To be able to deal with that, you have to have a lot of aspirational feelings pinned on being there.
I'm only interested in being a good actor and in being remembered for my best films, not for the way I look. But it seems inevitable in this line of work that I have to care about the way I look without getting obsessed about it.
When I'm writing, I try to have the mask of my character on as I'm walking through the world. When I'm not at my desk, the rest of the time, I try to stay in that character and see the world the way that character would It's almost like method acting in a way — keeping the character close the way the actor keeps a script close and always tries to be in character.
My goal is to be a great-looking 70-year-old! I won't mind being 70, but I want people to say, "You're 70?"
I've always thought of myself as an 80 percenter. I like to throw myself passionately into a sport or activity until I reach about an 80 percent proficiency level. To go beyond that requires an obsession that doesn't appeal to me. Once I reach 80 percent level I like to go off and do something totally different; that probably explains the diversity of the Patagonia product like - and why our versatile, multifaceted clothes are the most successful.
I’d like to be the kind of actor who is remembered for my character. You know how there are cases where even when you watch all the way through the end of a drama, you remember the actor’s name, not the character’s. I want my character’s name to be more remembered than mine.
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