A Quote by Rita Moreno
Actors very often are people who think it's always about 'me,' and I can see why! No one else is going to support you or say, 'Gosh, I'm sorry about that,' or, 'Here, let me give you a job.' It doesn't happen that way.
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Actors very often are people who think it's always about 'me,' and I can see why! No one else is going to support you or say, 'Gosh, I'm sorry about that,' or, 'Here, let me give you a job.' It doesn't happen that way. You can see why performers get very self-absorbed.
I always say about acting: the audience doesn't come to see you, they come to see themselves. So if you're able to give them an experience where they feel, 'Oh, my gosh, that's me, that's my story, they know!' then you've done your job.
It's not often that I read about actors that I'm going to be meeting. I get to read articles about actors who were going to come in, so I get to see someone and say, "Oh, I read that I was going to see you. It's very nice to see you."
There is another side to me which people don't often see, but it's very hard for me to show that. When I do interviews, I'm talking to people I don't know and when you speak to a stranger you don't open up, do you? In my position, people are always looking for something to say about me. And anything I do say, given half-a-chance they'll turn it round into something spectacular so I've got to be very careful. That's why it's only my friends and family who know the real me. Now my wife, Lainya, she could tell you a few stories.
I think about the structure, sure. I think about what's going to happen, and how it's going to happen, and the pace. But I think if I stop to think about it in an abstract sense, I feel very daunted. I just try to enter into the story and feel my way through it. It's a very murky, intuitive way of going about it.
I think the only way you can get something out is to invest some real emotion into it, which means you're already writing about what's going to happen to you, whether you know it or not. That's why I'm always surprised when people talk about writer's block. Because to me, it can't be stopped.
As soon as you start to think of that thing that you want to convey or say, you can always just say it much better than you can actually rhyme it or stuff it into a song. It's very, very difficult to just kind of get your point across without going the back way. And you have to be good at that, to not think about things so hard. Let the pen take over, so that it's somebody else's job to dissect the lyrics and tell you what you're all about.
Like all actors, after every job, I think, 'Well, that's the last one, and I'd better think about doing something else.' But I've been so very lucky, and I've managed to keep going for a long time. It's just the way the cookie crumbles, and it's crumbled pretty well for me. I appreciate it, and I realise how lucky I am.
When I am introduced as someone from New Orleans, people sometimes say: "I'm so sorry." New Orleans. I'm so sorry. That's not the way it was before,not the way it's supposed to be. When people find out you're from New Orleans, they're supposed to tell you about how they got drunk there once, or fell in love there, or first heard the music there that changed their lives. At worst people would say: "I've always wanted to go there." But now, it's just: "I'm sorry." Man, that kills me. That just kills me.
Everyone always asks, was he mad at you for writing the book? and I have to say, Yes, yes, he was. He still is. It is one of the most fascinating things to me about the whole episode: he cheated on me, and then got to behave as if he was the one who had been wronged because I wrote about it! I mean, it's not as if I wasn't a writer. It's not as if I hadn't often written about myself. I'd even written about him. What did he think was going to happen? That I would take a vow of silence for the first time in my life? "
Hello, darling. Sorry about that. Sorry about the bony elbows, sorry we lived here, sorry about the scene at the bottom of the stairwell and how I ruined everything by saying it out loud. Especially that, but I should have known. You see, I take the parts that I remember and stitch them back together to make a creature that will do what I say or love me back.
I know I am a human being. I can give myself to one year for a project. That is why I say I'm primitive in the way I work, especially compared to most artists. I came to New York in 1974, knowing that it is the art center of the world. But I didn't go to find people for my work. I do the work, and the people come to me, and I learn from them. That has always been my approach - to do the job first and then to respond to it after I finish and learn what people think about it. That's how I develop, and I'm more of an outsider in that way.
It's about feeling alive in the moment because your adrenaline is going, your thinking about that present moment, you're not somewhere else, you're not thinking about what's going to happen 10 minutes from now, and that's the reason why I love fighting, it's when I'm in there. I feel free, I feel like there's no other place I want t be. I can't even think of anything beyond that second. That's why I'm drawn to the fight, because I love the presence of it, where it brings me mentally, it's the purest thing for me.
I have to figure out why I worked at a job I hated for years. I have to find out why I can’t see what everyone else sees in me. I don’t feel beautiful. When I look in the mirror, I never saw beautiful. For this to happen to someone like me, it’s devastating, Jonas. I don’t want you to think it’s vanity, it isn’t. I can’t see me and I need to be able to do that. I need to find out what I’m like and what I want. I have to be comfortable in my own skin before I can be in a relationship the way you want.
It's kind of a collaborative relationship. Westworld requires the investment of the people watching, and that's what I love about it. It changed my life. When I read the script, I was like, 'This is going to change the way I think about my own life. The way I see myself, the people around me, and the way I choose to exist.' That's what great material does. It transcends just being pop cultural entertainment, and actually involves the mind. It's really fun, and when I see the reactions and theories it makes me really excited. That's why I act.
I learned a tremendous amount about what was important to me as a head coach in that I was not in charge. I didn't have final say about what was going on, and I was always having to represent other people's views, and it was very difficult to be real, to be authentic, to be true because there were a number of people who had say about what was going on.
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