A Quote by Michael Keaton
My work is distinct and definitive and specific, and hopefully it is so that every single character is different, and they are - but there's probably an underlying element that's me.
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Hopefully, underlying all my jokes is an element of surprise.
In every character you play, as much as you hate to admit it as an actor, but there's an element of you that you bring to it. Either the character helps you discover that element of you or the other way around, where that element of you helps you discover the character.
If guys feed off me, that's fine. But I'm going to play my way and I don't change. One hundred percent every single play, every single day. That's just me. And hopefully guys, especially the young guys, feed off of it and hopefully they learn how to be a professional and bring their 'A' game every day.
Sometimes every single element of a character is a torturous discovery.
Every character thinks differently, and every character has a different energy and way that they tick. But to find a character like Kai, who is so far that he doesn't even feel things, he is so different from me. That is the most exciting part.
Every single character and every single person in real life can all be 16 or 17 years old and maybe live in the same town and go to the same school, but every single girl is experiencing and living a different life. I think that, on the outside, it may seem like there's a lot of similarities, but there's also a lot of differences as well.
I usually base my characters on composites of people I know. One trumpet player in SIDE MAN is really a mix of four different guys I knew growing up. Patsy , the waitress, is a mix of about three different people. I like doing it that way. I start with the characters, as opposed to plot, location, or some visual element. I write more by ear than by eye. I always work on the different sound of each character, trying to make sure each has a specific voice and speech pattern, which some writers could care less about.
I don’t get wrapped up in technique and the like. I have a simple rule and that is to spend as much time in the location as possible. You can’t expect to take a definitive image in half an hour. It takes days, often years. And in fact I don’t believe there is such a thing as a definitive picture of something. The land is a living, breathing thing and light changes its character every second of every day. That’s why I love it so much.
I look for a role that hopefully I feel empathy with and that I can understand and love, but also that has that challenge for me to play - a different kind of role, a different type of character, a different time period.
Every single experience, every single thing that's happened in my life, struggle, obstacle, trials and tribulations, I think they've all molded me to become the character and the person who I am.
Every single rally is a different character.
I can tell you every element of every single look from each collection - one to 30 - without looking at a picture: my label is all done by me.
I know when I get to 0-2, 1-2, when I'm ahead in the count, that I hold a distinct advantage over every single hitter. I have so many options because I don't have to work within the strike zone anymore.
Buddha himself taught different teachings to different people under different circumstances. For some people, there are beliefs based on a Creator. For others, no Creator. The only "definitive truth" for Buddhism is the absolute negation of any one truth as the Definitive Truth.
It's not like I try to be different, but every single person is unique, and every single person has special things to offer, and it's about embracing it and not being afraid of the fact that maybe you're different or quirky, but it's okay to be different, and it can be a wonderful thing.
People see so many things in the paintings. Although I never think of them, it charms me a little bit that people actually project actual scenarios on to the paintings. Hopefully that means that they have a little bit of life to them. Figuring out the rhythm, the structural element has been the key thing in this work, more than the color element. It really was the variety of different widths that lead to a certain movement, a rhythm. Otherwise I'd fall into anything that was too stripy or almost like bar codes, and it thwarted the natural flow of the painting.
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