Your primary tools, as an actor, are observation and imagination. You can pretty much get everything you need from that, and you do. It brings back that element of pretend.
Claim your place in the sun and go forward into the light. The tools are there; the path is known; you simply have to turn your back on a culture that has gone sterile and dead, and get with the programme of a living world and a re-empowerment of the imagination.
I think fire is so critical in the wild. You can cook with it, you can make tools, you can deter a predator, you can dry your clothes and you get that element of morale that matters so much when you're stuck in the middle of nowhere.
You stay sharp. You go back into the gym. You work, put that work in, get that conditioning up, you lift. You pretty much know as a pro athlete what you need to do to get yourself back. But none of that, for me, means as much as playing.
I don't think there's any company that has the same tools as Martha Stewart Living does, and people know that. They really love the tools and, if you have the tools, you can pretty much do the craft.
I use so much of myself in everything I do. I think every actor does because you have no one else to go to but yourself and your own imagination.
Self-observation brings man to the realization of the necessity of self-change. And in observing himself a man notices that self-observation itself brings about certain changes in his inner processes. He begins to understand that self-observation is an instrument of self-change, a means of awakening.
You've got to do the big studio movies to get your name, but as an actor and for your own well-being you kind of need to step back from that occasionally and do the smaller films. In the end, that's what helps you learn and makes you a better actor.
You have to know the rules, otherwise you have no tools to communicate to the audience, but to keep it fresh you have to break some. I don't choose genres as the element, but the material itself is the element, then I'll decide what genre I need. That's just how I work.
Much of what you do as an actor - it's who's around you, what's the environment, where do you fit into this thing. That's really work that's impossible to do on your own, at least for me. I find it hard to pre-plan every element of everything I do. It's not my thing.
Imagination, which is a quality writers must have, does not mean the ability to weave pretty stories out of nothing. In the right sense, imagination is a response to what is going on — a sensitiveness to which outside things appeal. It is a composition of sympathy and observation.
You look so out of your element. (Savitar) I am out of my element. Much like you in a Seattle Goth club. (Acheron) I’m never out of my element, Atlantean. And it must be dire indeed to get you in shorties, and on a board. One day I’m actually going to get you to say ‘Rad four-mill steamer, dude! (Savitar)
Everyone is a creative agent. ... The tools are your imagination and your imagination is limitless.
In a rehearsal room, your real resource as an actor aren't the things around you; your resources are your imagination and your director and the other actors. In those close quarters, your imagination and your skills are what you turn to.
It's fun to pretend you're a little kid, you get to use your imagination and live in a world that's not real.
I don't have a primary doctor, a primary hairstylist, a primary anything. I don't even have a primary address! Everything is just whenever I can find one.
You can keep your mind open and use your imagination and be creative even when you're older. For kids, I definitely think keeping your mind open and using your imagination and being able to play pretend and that it's okay.