A Quote by Adam Beach

Acting for me was an escape and it wasn't until Smoke Signals that made me realize that acting is a personal development and challenge to grow. Smoke Signals really mirrored the way I grew up and how I felt, and that movie was the first time I'd dealt with my parents' death and how I felt that loss and sadness and anger. After that movie I said, "Y'know what, I have to realistically wear my emotions now when I do a job. That's gotta be as real as it gets. It's not just dialogue anymore."
Anger is about fairness. If it feels that you're getting ripped off or taken advantage of, that's when anger comes up. Sadness deals with loss. And I suddenly had this new revelation - it felt like to me - that those are all true, but the real, deeper reason we have emotions is to connect us together. And that felt big to me.
With 'Smoke Signals,' the character was so much like me growing up. I lost my parents, and I wish I'd had an opportunity to find out where they were. So I was reflecting on how I grew up, that feeling of abandonment. That whole film was a reality that I always held back and kept to myself.
I kind of joke with myself that you shouldn't be able to be a creative producer if you weren't a first AD. Because it is such fantastic training for really understanding what everyone does, and how the movie actually gets made. You have to know if you're the first you're kind of the set general, you're at the director's right hand, you know everything about how a director puts a movie together, you know everything about how a movie gets made.
Did you ever see Cheech and Chong's Up in Smoke? That's what happens if you really smoke weed and make a movie. You get two guys and no plot and it's basically like, 'Yeah! Let's drive a van made of weed!' And that's pretty much the movie.
Well, it has to do with very deep things, because it might be that imagining yourself as a girl is a diminishment. But it is something that when I made "The Devil Wears Prada" it was the first time in my life, 30 years of making movies, that a man came up and said I know how you felt. I know how you felt. I have a job like that. People understand.
I listened very, very carefully to the world around me to pick up the signals of when trouble was coming. Not that I could stop it. But it made me observant. That was helpful when I became a lawyer, because I knew how to read people's signals.
I have a smoke grenade in my room," I said. "What?" Megan asked. "How?" "I grew up working at a munitions plant," I said. "We mostly made rifles and handguns, but we worked with other factories. I got to pick up the occasional goody from the QC reject pile." "A smoke grenade is a goody?" Cody asked. I frowned. What did he mean? Of course it was. Who wouldn't want a smoke grenade when offered one?
My first real kiss came when I was 10, and it was in an acting class. I had to do a scene from a movie where someone gets kissed under a tree, and I did not want to do it! But my acting partner wanted me to feel comfortable, so he bought a picnic basket with all these snacks. He made such an effort - and it was cute.
I already shred all my mail. What am I supposed to do now? Use pay phones? Smoke signals? Train pigeons? There's no such thing as privacy anymore.
I always grew up around acting. I did commercials as a kid and all that kind of stuff and my oldest brother did theatre in High School. It's funny, when I was 15 I had a friend of mine who dragged me away to a camp at Boston University. It was the first time truthfully that acting didn't feel presentational; it felt very personal. I didn't just feel like I was singing and dancing for my friends in High School. It felt like I was doing a scene and all of a sudden I started to feeling something - I started to feel emotional.
All that sadness. All that anger. It is the smoke that gets into your eyes. If you do not blow it away, how can you hope to see?
I didn't know until high school that I was interested in writing in any real way. But there was this boy that I had a crush on, and I used to tell him all the time what I felt about him. Finally he gave me a blank journal and said to write it all down - and it didn't take me very long to realize how much I loved writing.
Ethan [Hawke] just - they got along great. He got to act with a dog, for real, and it felt like Jumpy was acting with him. It was a surreal thing to watch. When you watch the movie [Valley of Violence], you just kind of accept it. But if you do think about how we show - there's a dog and a movie star interacting - and you buy it. That's crazy.
I remember the ache I used to feel when she got too close, how it felt like grief, how it felt like a loss, like I was falling, falling into nothing, how it clenched me up and made me want to weep, made me actually weep.
My movies are painfully personal, but I'm never trying to let you know how personal they are. It's my job to make it be personal, and also to disguise that so only I or the people who know me know how personal it is. 'Kill Bill' is a very personal movie.
What I do is I don't act a part, I give a piece of myself. Old friends that have known me for a long time, when they saw me in my first movie said: "Roland you are not acting; you are just being yourself." But I don't think you can deliver a role without putting something of yourself into it, and I just realised that everyday we do a little bit of acting.
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