A Quote by Paul Guilfoyle

I've always thought really good artists in general are overqualified. You're paid to stand there and do a line, but the guy has probably gone to drama school... but they have developed it to be just, like, one specific line.
I thought Clint Eastwood was cool in all the western movies, but I'm not gonna drive somewhere he's at and stand in line to see him. I told Missy, my wife, 'The only person I'd stand in line for is God Almighty. You made the universe? All right, I'll get in line!'
Even when there's not a joke or a hook, the first line has to be good and snapem to attention. Songs ain't novels. You don't have 30 pages to slowly wrap somebody in. They're more like short stories or poems. If the first line hasn't grabbed them, you won't get to the second line. Once you've developed an audience, you may have some luxury and trust, so you don't have to knock 'em over the head with line one.
I'm not good at picking people up, I'd rather just get to know someone. I'm not an 'opening line' kind of guy; it's not really my scene. But at school, I was good at talking to girls. I wasn't good at making moves, though.
For me there's always a line or two in a script, when you hit it you almost decide to do the whole movie off a line or two. You almost do it for the fun of getting to say a line or two like that. I don't have any specific plans, you know. I mean, if Seth Rogen calls with a great buddy pic, I'll be there.
One night a guy hit his head on a welding gun. He went to his knees. He was bleeding like a pig, blood was oozing out. So I stopped the line for a second and ran over to help him. The foreman turned the line on again, he almost stepped on the guy. That's the first thing they always do. They didn't even call an ambulance. The guy walked to the medic department -- that's about half a mile -- he had about five stitches put in his head. The foreman didn't say anything. He just turned the line on. You're nothing to any of them.
I don't know if you want to call it, like, 'an old school guy' or what, but you've got to go out there; you've got to perform in order to get what you want. I'm willing to put my skills on the line and put my heart on the line just to say I'm the best and prove that I can achieve this title.
It was early on in 1965 when I wrote some of my first poems. I sent a poem to 'Harper's' magazine because they paid a dollar a line. I had an eighteen-line poem, and just as I was putting it into the envelope, I stopped and decided to make it a thirty-six-line poem. It seemed like the poem came back the next day: no letter, nothing.
If you write a good line, you write a good line, and the best line wins in television. It doesn't matter if you're the guy who gets the coffee or if you're the showrunner - best line wins. That's the beauty of television collaboration.
I'm not really a line type of guy. I mean, pick-up lines work for some guys. You gotta really sell that thing hard. I did try one pick-up line, and it failed miserably. I thought it was really funny, but the girl didn't find it very funny.
I always find it really flattering when people are going to line up and wait in line for hours to tell you how cool you are and to take a picture with you. I always have time for that. It makes you feel good.
There is a fine line I have to walk throughout the writing process in a novel. It is this line between drama and melodrama, and it is this line between evoking genuine emotional power and being manipulative.
I'd love to have a shoe line, or a sunglasses line, or a purse line. Who am I kidding, I'd like to have an everything line!
I've always gone with Kafka's model of establishing the world from the first line, as in Kafka's famous line from Metamorphosis, "Gregor Samsa woke up from uneasy dreams to find himself transformed into a gigantic insect" (or beetle or cockroach, depending on the translation). I have to have that first line before I can go further.
There's just some dysfunctionalism with artists. There are good things and bad things about being an artist, and the good thing is, sometimes you get an inside line on what's really happening. You develop these strange antennae that clue you in to what's really going on.
I started really young, like 12 or 13, and then I started doing school plays. We had a really good drama department, so the kind of drama-geek stigma wasn't really there in my high school.
I started studying theater in school, and then I got into drama school at, like, 19, and it was a national drama school in Montreal, and so it was just you and nine other students for three years, and it was really intense.
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