A Quote by Wayne Shorter
No one really knows how to deal with the unexpected. How do you rehearse the unknown?
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Every writer knows the terror of an unexpected success. How to carry on? How to repeat it?
Rehearse death. To say this is to tell a person to rehearse his freedom. A person who has learned how to die has unlearned how to be a slave. He is above, or at any rate, beyond the reach of, all political powers.
The worst part is the unknown. The pain of being alone, the loneliness, is familiar. You've dealt with that. You understand it. But loving someone, risking everything, is unknown. There's no way to know how bad it's going to be. You barely survive the pain of being alone, so how can you deal with anything worse? So you don't bother to try.
After one has been in a lowly position, one knows how dangerous it is to climb to a high place, Once one has been in the dark, one knows how revealing it is to go into the light. Having maintained quietude, one knows how tiring compulsive activity is. Having nurtured silence, one knows how disturbing much talk is.
The beauty of the unexpected and unknown, and it's certainly very tantalizing for me as an actor. Other actors can't deal with that; they want to know, but then they make choices and decisions with that knowledge because that knowledge gives them forethought, and they can think about how they want to play something that takes away spontaneity of what they could be doing.
You have to learn how to dress yourself and how to walk into a room and talk to people. Once you're in rehearsal, you have to know how to rehearse and how to communicate with your creatives, even if you don't communicate the same way.
No grand inquisitor has in readiness such terrible tortures as has anxiety and no spy knows how to attack more artfully the man he suspects, choosing the instant when he is weakest; nor knows how to lay traps where he will be caught and ensnared as anxiety knows how, and no sharp-witted judge knows how to interrogate, to examine the accused, as anxiety does, which never lets him escape.
My background with Cummings was rehearse, rehearse, rehearse, but Tuesday liked to walk in and do the scene. I must say that she was really wonderful. Aggravating, but wonderful.
Not moving because things are unfamiliar-and you haven't bothered to learn how to operate on them-I think is really a crime. The uncertain is the unknown and the unknown is the future, and you cannot predict the future. But the unfamiliar? You can learn how to operate in that.
When you think of a chef you think of somebody that could cook - you don't think of chef that says, 'Yo, I make only steaks'. No. A chef knows how to bake, he knows how to fry, he knows how to sautee, he knows how to do everything that's pertaining to food, and that's how I felt about my lyrical position. It's like I would say, 'Today I'm gonna make a hot salmon. Tomorrow I make you spaghetti. The next day I make you baked fish'. This is how my lyrical content in my head was already bein' reciprocated to the world, bein' given to y'all like that.
So much of a professional athlete's success depends upon not necessarily the play itself but how he deals with... always saying how you deal with good, is just as important as how you deal with bad.
Mike Pence not only knows the Capitol. He knows the players in the House and the Senate. He knows how the committee system works. But he also knows all the governors. And so that really brings a unique talent to the picture.
Time and movement became really crucial to how I deal with what I deal with - not only sight and boundary, but how one walks through a piece, and what one feels and registers in terms of one's own body in relation to another body.
You know, for a normal kid it might be how to ask somebody out on a date or how to deal with the SATs or just how to deal with the bully down the block. And the X-Men have the conflict of Magneto or aliens or what-have-you.
Having been an actor, I always want to leave room for the actors to find their comfort zone, so I don't like to be too rigid in how I plan my shots. It's different if you have weeks to rehearse and you can rehearse on your sets or in your locations and you can plan that out with your actors, but in modern independent filmmaking, you don't really have that time. You have to have a certain level of improvisation.
"A guy who knows how to dance knows how to fight. A guy who knows how to fight knows how to love. A person who knows how to fight will break bones yet a person who knows how to love will break hearts".
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