A Quote by John Lithgow

Whenever I play a role, it's like I've been kidnapped inside my own body. — © John Lithgow
Whenever I play a role, it's like I've been kidnapped inside my own body.
Cable is not a robot. The metal in his body is actually organic tissue. Ed and I have talked about this a lot. We liken it to a cancer that changes your body's cellular structure. Last time we saw him, his arm had been severed. It's back with a kind of force that will play a major role in this storyline. This is a battle inside Cable's body that he has waged since the first time he appeared.
Real art has been... what's the word? Kidnapped? No, that's not it. But, OK, kidnapped by business.
Whenever we think of the body as a vessel for artistic ideas, we somehow always focus on the surface of the body. But the truth is that there is no surface of the body independent of its interior. It's obvious that the outside of the body is always connected to the inside, to thought processes and to an internal anatomy.
Now then, what do we know? One, that Professor Fassbinder and his daughter have been kidnapped. Two, that someone has kidnapped them. Three, that my hand is on fire.
Because I've always been a runner I love to feel that my body is shining on the inside. I wear baggy clothes, so it's not as though I like showing it off. I just like to know I'm great on the inside.
We have been given a role to play. We have been asked to provide, to give lectures on the role of Islamic development and the way we do it here, so the people who are Muslims there would understand what the role of Islam is.
I'd love to play a role like Kathleen Turner in 'Body Heat.'
A diplomat had been kidnapped, a cabinet minister had been kidnapped, they were under threats of murder. The police forces were rather tired. After a whole week, we were unable to find those that had effected the kidnappings.
Whenever I read a script, I start recasting the role that I might play. I'm like, 'God, this should be played by Domhnall Gleeson, not me.'
If you look at my body of work, my characters drastically vary, and so I typically don't play the same role. It makes me feel reborn with each role.
I don't need to be a frontman all the time, and in fact, the older I get, the less of an urge it is inside me to play that role. I've still got it inside me, and I do occasionally allow it out.
I'm not really looking for anything. I don't really have a dream role that I'd like to play. When I read a script - I guess it's quite interesting, especially with theater - I get a sense about it. It's in my body: I sweat when I read a play.
The chief reason I shove the reader inside the body - or more specifically, the chief reason I try to get the reader to feel their own body while they are reading, is this: we live by and through the body, and the body, is a walking contradiction.
I don't have one specific dream role: I'm an actor, so I want to play everything. In this business, they'll pigeonhole you in two seconds if you're great at the role you play. Everyone assumes that you're really just like that character.
I always said, 'Whenever I get pregnant, I'm going to embrace all of the body changes that happen.' My focus has not been on any sort of snap-back or anything like that, because your body won't be the same after giving birth, and if anything, that's something to be celebrated, embraced, and owned.
I like playing an array of different roles. From the fun, comedic roles to the serious roles. It's always fun to play the role that either closely represents your own personality or the role that is completely opposite of yourself.
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