A Quote by Will Forte
Right before 'Nebraska,' I went to Ireland to do this little movie called 'Run & Jump.' It was so far away from home, I felt a real safety to explore a different kind of role. I loved how it turned out.
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I felt when I was elected that the most important task on this island [Ireland] was to extend the hand of friendship right across the board to the people of Northern Ireland, to have the beginnings of a real peace process. In consequence, although I have no role in intergovernmental talks or political discussions, that would be my very top priority.
I feel like I got a good jump on the ball. I turned my head and picked a spot out to run to. I was able to look back at the ball real quick again and it fell right into my glove.
I felt like for it to really turn into something, you have to jump in with both feet. And it always turns out a little different than you imagined it, but that's kind of the beauty of it, when you feel musically confident enough to just kind of follow where it goes.
Honestly, I think it's dumb luck that I'm able to kind of get away doing different types of films in different genres. There's always a tendency to kind of stick with what works, or stick with one particular kind of brand or movie. But so far I've been getting away with it, so I'm going to continue to do that for as long as I can.
We went through all the scenes and they became kind of funny and they expanded a little bit and because it seemed to be working so well in the movie, they added a couple of things later on in the movie and that's how it turned out.
I didn't know what hate felt like, not the hate that comes after love. It's huge and desperate and it longs to be proved wrong. And every day it's proved right it grows a little more monstrous. If the love was passion, the hate will be obsession. A need to see the once-loved weak and cowed beneath pity. Disgust is close and dignity is far away. The hate is not only for the once loved, it's for yourself too; how could you ever have loved this?
Twenty-seven people sang 'Wind Beneath My Wings' before I got around to it. A lot of people saw the movie that I sang it in, Beaches, and what they came away with was that song. They turned to their loved ones and said, 'You know, you are the wind beneath my wings!' The song expressed how they felt in a way a simple 'I love you' would not have.
I can make my living out of Ireland, but the reason I came to London was that I felt I'd gone as far as I could go in Ireland.
How far we all come. How far we all come away from ourselves. So far, so much between, you can never go home again. You can go home, it's good to go home, but you never really get all the way home again in your life.
...
whatever it was and however good it was, it wasn't what you once had been, and had lost, and could never have again, and once in a while, once in a long time, you remembered, and knew how far you were away, and it hit you hard enough, that little while it lasted, to break your heart.
We had loved people we really shouldn't have loved and then married other people in order to forget our impossible loves, or we had once called out hello into the cauldron of the world and then run away before anyone could respond.
I was excited to play a bald guy in 'Ujda Chaman' because I had seen the Kannada film 'Ondu Motteya Kathe.' I loved it, and I felt inspired. It was the kind of movie that I wanted to do. I thought this film was offering me a very different role and an opportunity to perform.
The harder the circumstances under which you're making a movie, generally the better the friends you make. You're far away from home and so you're kind of lonely, and you end up all gravitating towards each other and the bar every night. It tends to be inversely proportionate to the comfort level on the movie, how close you become to everybody.
I've been very fortunate to be able to jump around. I just did this really wonderful film called Map of the World. That was a real, amazing, dramatic story. Then I did a movie called Company Men, a little comedy about the Bay of Pigs.
When I left home after graduating high school, I left as a migrant agricultural worker with a Modern Library edition of Plato in my duffel bag. It sounds kind of crazy, but I loved it. I loved the stuff. Before I knew there was a subject called philosophy, I loved it.
You’re kind of a psycho. I get that.” “I might be,” Monica agreed, and gave her a slow, strange smile. “You’re one smart little freak. Now run away, smart little freak, before I change my mind and stick you in one of these old suitcases for some architect to find a hundred years from now.” Claire blinked. “Archaeologist.” Monica’s eyes turned winter cold. “Oh, you’d better start running away now.
[W]hen Ben was kissing me, the whole world retreated. I felt things I'd never felt before, in places I never knew were connected. But I was pretty sure that whatever was buzzing against my thigh was not normal. For one thing, it was ringing. Ben dragged his mouth away from mine and mumbled a curse that was a little shocking and kind of hot. "Ignore it," he said. That was easy for him to say when his cell phone was rounding third base. If anyone got a home run tonight, I didn't want it to be Verizon Wireless.
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