A Quote by Tommy Chong
I converted a family-owned strip club into an improvisational acting theater.
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You know those guys that go to the strip club at the daytime? If you're at a strip club, and the sun is out, you got some problems!
I think, strangely, a strip club can tell you a lot about the city you're in. If you call a strip club "Tuna's," I've gotta go in there. Usually you're not seeing the top talent around, but it's not about that. It's about the experience.
I did work in a strip club, but I didn't strip. I danced, and I became very popular.
I went to theater school in France, and when I finished I thought I would never go back to acting again. I don't want to be acting in theater. It's not for me. I'm sick of all this theater world, all these actors, and all that.
The nature of fashion is family. You see that at almost every house, it was owned first by a family. It wasn't owned by a bank.
I think if my daughter was interested in acting, I would find ways for her to act in theater that has to do with her school or a kids' improvisational thing. There are ways to do it where you're not on a movie set with 60 adults, which I loved at the time, but as a parent, I don't know that I'd be dying to put her in that spot.
What makes a good deli is a place that, one, is generally family-owned or owned by individuals that care. Delis that are owned by large corporations tend not to have that same soul. And two, delis that make as much of their food from scratch as possible.
Sober strip clubs are horrible. When you are sober you see the matrix code behind a strip club. You're paying girls to pretend to like you until you run out of money so they can walk away.
Chicago theater vs. New York theater. There's just nothing to say about it really. If you've seen Chicago theater, you know that the work is true to what is there on the page. It's not trying to present itself with some sort of flashy, concept-based thing. It's about the work, and it's about the acting you're about to watch. So acting-based theater feels like it was born there to me.
My first real acting gig was probably playing Mamillius in my mother's 'Winter's Tale.' My mom and dad are both in theater, so I grew up acting and being a little theater brat as well.
And thus flowed the current of life. The seeds of the silverbell were converted into squirrel; and squirrels were converted into foxes. Everything edible, from mice and chipmunks to roots and berries and apples was converted into bear. And bear and his tracks are converted into wonder and adventure for man.
I went to performing arts high school, and I took dance and acting every day. Then, I went to Marymount Manhattan College and I have a B.A. in acting, with a concentration in theater performance and a minor in musical theater. I studied there for three years.
I always wanted to strip. I'm sort of one of those people who would walk past a strip club and while everybody else might give it a passing glance or cracks a joke, I'd be like pressing my face up against the window trying to see in. I was very curious always.
My preference is live performance. Because you get the feedback. There's an energy. It's live theater. That's why I think actors like that. You know, musicians need it, comedians definitely need it. It doesn't matter what size and what club, whether it's 30 people in the club or 2,000 in a hall or a theater. It's live, it's symbiotic, you need it.
Ricardo Montalban is to improvisational acting what Mount Rushmore is to animation.
Having grown up in the theater family, having done a huge amount of acting from a very little boy to precocious teenager in Shakespeare festivals that my father produced, I went off to college and fell in with the theater gang. I was already an experienced actor. I became a kind of campus star. I heard all this applause and laughter.
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