A Quote by Zachary Quinto
I think it's always good when you're able to, as an actor, allow your work to be some kind of a conduit for social discourse, and an examination of where we are, as a society.
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It is the shared experience - [although] you're the conduit of the sound, the recipient is also in some way the author of the work, because if they weren't the author of the work they wouldn't be able to recognise it as an experience, you could argue. The more distance you can put between yourself and having any kind of objective the more likely it is to appear.
Education may well be, as of right, the instrument whereby every individual, in a society like our own, can gain access to any kind of discourse. But we well know that in its distribution, in what it permits and in what it prevents, it follows the well-trodden battle-lines of social conflict. Every educational system is a political means of maintaining or of modifying the appropriation of discourse, with the knowledge and the powers it carries with it.
Work with good directors. Without them your play is doomed. At the time of my first play, I thought a good director was someone who liked my play. I was rudely awakened from that fantasy when he directed it as if he loathed it. . . . Work with good actors. A good actor hears the way you (and no one else) write. A good actor makes rewrites easy. A good actor tells you things about your play you didn't know.
My goal was always to be recognized as a good actor but no one was interested in that, simply because society just wants to warm towards your appearance. This is the great blemish of society.
In the society that has replaced the paternalistic society, women are able to develop their independent and social energies much more. That is good.
Coming to Korea and becoming a singer, I always had two big goals personally. One was to be able to make it at some point so that I could do good things - I was always raised with an interest in social impact, philanthropy. The other thing was to be able to take my music and do it on a global scale.
I think it's important for an actor to see the work they've done because every time you revisit a work you come up with a new way of improving it. It's a good way to brush up your craft and your skills, so I think it's a good thing to do, keep seeing your films.
It's difficult for a society to have a healthy discourse on its future when people are afraid to gather to express themselves and authorities won't allow it.
Music as a social conduit has always been important to me.
All of us were born at some point, and at some point, unfortunately, most people get sick or need to care for a loved one who is sick. I mean, that's just acknowledging the reality of how we have to have labor market policies that allow people to have families, which is why we work in the first place. We have to have policies that allow us to be able to focus on our jobs and be highly productive employees. You need to be able to have policies that allow us to adjudicate between those two.
Over the course of my career, I have come to accept that some of my more provocative work courts controversy, and as an artist, I value the discourse that arises from this. I can only hope for this discourse to be informed by fact, so that whether you love my work or hate it, you give it, and me, the benefit of the truth.
I think, no matter how successful you are, there is some struggle of one kind or the other for every actor at every level. There are times when your work progresses at an extremely slow pace.
Objectivity is impossible and it is also undesirable. That is, if it were possible it would be undesirable, because if you have any kind of a social aim, if you think history should serve society in some way; should serve the progress of the human race; should serve justice in some way, then it requires that you make your selection on the basis of what you think will advance causes of humanity.
Architecture is a discourse; everything is a discourse. Fashion discourse is actually a micro-discourse, because it's centered around the body. It is the most rapidly developing form of discourse.
I've always been able to work. I think it's an actor's obligation to keep working if you can.
I'm an actor, and I think some of us who are drawn to this work know what it is to desperately want to be loved and validated: to be good at something and not be able to do it; to come in second on countless projects; or told that you were the first choice, but the part went to that guy who had that TV show in the '90s.
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