A Quote by Powers Boothe
When 'Deadwood' came along, it was totally like Shakespeare. The long speeches were like soliloquies. If one phrase of a monologue was out of whack, the entire one-page speech didn't work.
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I like that kind of stuff. I like doing speeches. I've been lucky because I've had a lot of characters, over the years, who will have three or four page speeches.
I feel like any single woman of color who's been onstage has a Shakespeare monologue in her back pocket, and a monologue from 'For Colored Girls.' It's just part of what you should have, as a woman of color.
I actually never acted on "Deadwood." I have meetings all the time where people look at my IMDb page and see that I played the part of "Accounting Clerk" on Deadwood. Actually, I was the accounting clerk for production of "Deadwood."
I remember hearing about when U2 first came out and came to America and the gay community was their biggest following. And they were totally surprised, but they were like, that's cool. And for me it's the same thing.
Free speech is important whether you like what's being said or not. The reason why it's so important is that the entire spectrum of ideas needs to be heard so that the best ones are embraced and rise to the top. If you're a liberal and don't like conservative speech and you try to stifle that conservative speech, you need to be prepared for your own progressive speech to be stifled when the power shifts out of your favor.
The question I have is out of all these commencement speeches that are happening, what`s the really worthwhile advice that a 21, 22 year old person will walk away from the speech and say, I can apply this maybe five years, 10 years later. How many speeches actually push the button like that, other than yours?
Finally Beiderbecke came out with a silver cornet. He put it to his lips and blew a phrase. The sound came out like a girl saying 'yes'.
I saw the comics in the East Village Other, and they weren't superhero comics, they were all about hippies and all about things hippies were interested in. And there was one page in particular, a full page strip called "Gentle's Trip Out" signed "Panzika", and it was totally, totally psychedelic, and really, I don't know if it made any sense at all but it looked so great, and I thought, "This is what I want to do, this is my big influence," and it was.
The abolitionists were not like the rugged people out West, and they were not like John Brown, either. They were people who made speeches and did politics.
A good folk song tells you something you already know, in a form you're already familiar with, on terms that were set down long before you were born - when the country was primarily windblown dust, open wagon trains, and dysfunctional towns like Deadwood.
Sometimes I get a script that says, 'Only you can play it.' But I like roles in films with little moments - a hand movement in 'Melancholia.' I don't like the big speeches - the 'Oscar speech.' I like to do unusual things on screen.
Putting together a list of heroes for 'Original Sin' was a long process, just like figuring out the villains. Along the way, some were taken out, and a few more were added.
A lot of people have a fear of Shakespeare. Even actors do. People are like, "Oh, I won't go and see Shakespeare because the language is so hard," but it is. When you read it on the page, you go, "What?! What does that mean?!" If you go to a Shakespeare play and you've never been, you sit there and go, "I'm an idiot! I don't get it!"
I think when you work enough on your doing freelance stuff on other films, you start to feel what it feels like to work with people who are not totally on the same page as you.
If there's a character type I despise, it's the all-capable, all-knowing, physically perfect protagonist. My idea of hell would be to be trapped in a four-hundred page, first-person, first-tense, running monologue with a character like that. I think writers who produce characters along those lines should graduate from high school and move on.
The U.K. perception of beauty is totally out of whack.
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