A Quote by John Goodman
[In my pre-success years] there was a constant hunger, measuring myself against other actors, and there was sometimes fear. But, there was always a need for self-improvement, to help with the struggle to make myself a better actor.
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I'm a very competitive person, but competitive with myself. I want to be the best that I can be, and if that means that I'm eventually better than everyone else, then so be it. But I don't go around comparing and contrasting myself with other actors if I can help it. It's also, I think, the key to my success.
That's my hunger. If I start to relax, and I lose that, then I had better stop my football. I need that hunger. I still feel I need to do things 10 times better than other players. Just to be accepted and to improve myself.
A mind that is always comparing, always measuring, will always engender illusion. If I am measuring myself against you, who are clever, more intelligent, I am struggling to be like you and I am denying myself as I am. I am creating an illusion.
People naturally tend toward inertia. That's why self improvement is such a struggle. But that's also why adversity lies at the heart of every success. The process of achievement comes through repeated failures and the constant struggle to climb to a higher level.
Like most other creatives, I struggle with self-sabotage, self-doubt, and feeling like an imposter more often than not. I struggle with expressing myself, because it does sometimes feel easier or safer not to.
I used to pre-rehearse everything and then bring my pre-rehearsed performance to the set. Now, I'm learning to let it happen in the moment. American actors are much better at that than British actors. If I knew how to trust myself, I would have been much more relaxed.
There’s a whole list of things I would probably change about myself. For example, I’m always trying to lose fifteen pounds. But I never need to be skinny. I don’t want to be skinny. I’m constantly in a state of self-improvement but I don’t beat myself up over it.
I used to pre-rehearse everything and then bring my pre-rehearsed performance to the set. Now, I'm learning to let it happen in the moment. American actors are much better at that than British actors. If I knew how to trust myself, I would have been much more relaxed. Maybe I would have less gray hairs today.
I see myself as a creative being. My only fear is compromising my integrity. I guess that's a constant struggle.
Everybody has the right to speak up in a democracy. We would be in trouble as a society if there wasn't a constant pressure to make reforms and to be just. Sometimes as prime minister, when i was caught up in a really loud demonstration, I used to say to myself that I deserved it because of all the demonstrations I myself had organized as a student against Duplessis.
When I'm feeling proud of myself, I should remember to ask myself why I think I am of any value at all. I have done nothing that a hundred thousand other people couldn't do, and most of them would probably do it better, and they probably wouldn't feel so self-important about it. I should always be ashamed of myself.
Hope, and fear. Twin forces that tugged at us first in one direction and then in another, and which was the stronger no one could say. Of the latter we never spoke, but it was always with us. Fear, constant companion of the peasant. Hunger, ever at hand to jog his elbow should he relax. Despair, ready to engulf him should he falter. Fear; fear of the dark future; fear of the sharpness of hunger; fear of the blackness of death.
The universal human laws - need, love for the beloved, fear, hunger, periodic exaltation, the kindness that rises up naturally in the absence of hunger/fear/pain - are constant, predictable, reliable, universal, and are merely ornamented with the details of local culture.
I put so much of myself out there and make myself so accessible that sometimes I fear I make myself too accessible.
The struggle to emerge out of the past, clean of memories; the inadequacy of our hearts to cut life into separate and final portions; the pain of this constant ambivalence and interrelation of emotions; the hunger for frontiers against which we might learn as upon closed doors before we proceed forward; the struggle against diffusion, new beginnings, against finality in acts without finality or end, in our cursedly repercussive being.
I struggle to watch myself in any scene, to be honest. What's done is done. I wish I was able to watch myself, as it would really help me develop as an actor. But I'm not brave enough. It's a difficult thing to do - looking at yourself as this utterly different person on a screen.
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