A Quote by Tim Crouch
The Author is a play about responsibility, how active we are as spectators and how responsible we are for what we choose to look at.
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'The Author' is a play about responsibility, how active we are as spectators and how responsible we are for what we choose to look at.
We all have a choice. We all have a say. We are spectators in life or we get in and play. Whichever we choose, how we handle lifes game, the choices are ours no one else is to blame.
The kind of sleep that I had during my own film [Certified Copy] screening in Cannes is different. It's not because of the specificity of the film. It was because of my relationship as an author to this film. Usually when I take my films to festivals, I feel incredibly anxious about them. I wonder how it will be received, how the audience will react. I feel deeply responsible for them. Whereas this time, I didn't have that responsibility on my shoulders.
Why wouldn't - how couldn't - an author care about how his or her books look?
Gamers co-author the games they play by the choices they make and how they choose to solve problems, since what they do can affect the course and sometimes the outcome of the game.
Shareholder activism is not a privilege - it is a right and a responsibility. When we invest in a company, we own part of that company and we are partly responsible for how that company progresses. If we believe there is something going wrong with the company, then we, as shareholders, must become active and vocal.
I think the difference between finding happiness, or moments of happiness, is how you choose to interpret things. That's a rather shocking responsibility. That we're responsible for our own happiness. It's not those around us.
Life as a performance is just a way to look at life choices as character choices. Every morning you choose what to wear, you choose how to wear your hair, you choose your friends, you more or less choose your profession, and how hard you will work at it. Those are all things that an actor decides about his character when he is performing, and they are things that we decide in life. We create our "character."
No one can be responsible for where or how we each begin. No one has the freedom to do anything or everything, and all choices bring consequences. What we choose to do next, though, how to spend our resources or attention or effort, this is what defines us.
People need to understand. If they go to a show on Broadway and find seventy people working but only fifty spectators, how much would the ticket cost? That's what El Bulli's about. There are seventy actors who are playing for just fifty spectators. Is the price expensive? It's relative. How much does a normal dinner at a five-star hotel restaurant cost? Four hundred dollars. It's the same as El Bulli. But you can also think of it this way: How much would it cost to eat something that nobody else is eating?
It is not nearly so important how well a message is received as how well it is sent. You cannot take responsibility for how well another accepts your truth; you can only ensure how well it is communicated. And by how well, I don't mean merely how clearly; I mean how lovingly, how compassionately, how sensitively, how courageously, and how completely.
I am the owner of my choices. I am the source for the perspectives I choose to hold regardless of how aware I am of why or how I come to possess that particular perspective. It takes courage to look into the mirror of our souls, absent excuses. I will look into that mirror little bits at a time. SEE and ACT. SEE what I can bear to see and ACT upon what I am able. This is the heart of a gentle invitation to personal responsibility.
An actor's responsibility is to play a character truthfully. That's their responsibility. That's where it ends. If they choose to use their reach and accessibility in order to further something that matters to them, that's their choice and that's great - but it's not for anybody to choose it for them.
To spend any time with someone who is among the top five film composers of the last 50 years is pure gold dust. I mean, not necessarily stylistically, because everyone is different in what their music sounds like, but the approach and how to look at a film, how to think about a film, how to decide what you want to do, how to think about characters, how to think about art, how to think about narrative, how to liaise with producers, how to liaise with directors.
Many critics always saw and heard that my style comes from Roy Eldridge, which is true. But for many things, not only how to play the trumpet but the way to choose the notes, how to play them and how to phrase all of them, I took that from Sweets [Edison]. He really brought something new to the trumpet.
Question: When you’re one of the few people who can do something to fix a problem, just how responsible does that make you for it? Answer: It’s how you choose to answer that question that defines you.
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