A Quote by Scott Glenn

The third season of the Leftovers came along and Damon Lindelof sent me the script to Episode 3, and I called him up and thanked him for one of the greatest gifts I've been given. I had that script for almost two months, in the mountains in Idaho, before I even got on a plane and flew to Australia and went to the outback. He also told me to learn about the indigenous people in Australia and learn how to play a didgeridoo. It was just great. It was probably, in many ways, the best acting experience I've ever had.
After I read the story of 'Dangal' and before the film released, I called director Nitish Tiwari asking him if he had any good script. He told me to wait for some time. So we had three-four sittings, and this film, 'Chhichhore,' came to him. The film did not have superstars, but I felt that this is the script that needs to be told.
I had just come off my third consecutive failed television series. I had sworn off doing TV for a while. I was going to go to New York, sublet an apartment, and find my soul again. Before I got on the plane, my agent sent me the script for 'Psych.' I read it on the plane and realised it had a lot of potential.
My first real experience of acting was 'Peaky Blinders.' That was the most intense experience. In those situations you learn so quickly, and I did. My brother had the script for the second season - they had already done the first - and he said there was a great part for me.
God has called us into a place of tenderness, when nobody is looking, when there are no great decisions to make, when it’s just him and me in a hotel room, with no one to pray for, no one to preach to. When it is just two people in a room, that’s where you learn. That’s where you learn his heartbeat. That’s where you learn the presence. That’s where you learn the voice. It’s in the moments when nobody is watching, nobody is evaluating how good you’re doing. When it is just you and him.
What Australia was before is the fullest Australia has ever been... as created and made and valued by indigenous people. The white man came here and took it away, took it away and replaced it.
Joe [Wright] reached out to me and sent me a treatment, and I said yes on the spot just from the treatment. Within six weeks, I was in Cape Town and there was a script [of Black Mirror episode 'Nosedive'], but I didn't realize until I received the full script that Rashida [Jones] and Michael [Schur] had worked on it. It's a particularly funny episode. Joe and I always looked at it as a satire; it has a lot of comedic elements to it.
There's been moments where I've felt, as an indigenous woman growing up in Australia, there's been that kind of rivalry of being indigenous... I've had that experience of someone saying, 'I don't know if she's going to go that far.'
I think Justin Bieber played a couple of songs up the block from it - and they said that some-one in his camp came and got him a burger. We had been talking about him a lot. Especially actually, last time we came to Australia, C.T. was on a real big Justin Bieber kick. I just thought it was really interesting to finally cross paths with him in New Zealand. And like really - the TV, everyone's just talking about it on the radio - it's a big deal that he was here. I think he just left.
My caddy today was a Scot and he told me that he was cheering for Australia, which I thought was a bit harsh. But generally I've been amazed at how many people have come up to me here in Scotland and said: 'I've never really watched cricket before, but I was hooked all summer.' It's great.
I knew [Jesse Owens'] name, but I really didn't remember what it is he had done, so I felt like I had to get refreshed. So I read the script and I realized like, wow, this is an incredible human being. I told my manager, however I had to do it, let me see the director; I got to play him.
He said I couldn't do (off the field) what I did when I was 23 or 24, and I paid attention to him. Damn it, I got a trainer and went to spring training in the best shape of my career and in 1985 had the best season I ever had and we won the World Series. Before that, I didn't know how long I was going to play. That talk with Mr. Fogelman was the most inspiring talk I ever had with anyone.
I think I made some mistakes, in different areas, but it's great to be working in a show again now, many years down the track. I have worked in many other different shows in Australia and I've been able to learn from my mistakes. I'm lucky that I made those mistakes early on in Australia, and I definitely won't make them again in the States, but you've got to learn that stuff.
I had always told my father that before working with him in the same frame as an actor, which I was petrified to do, I wanted to learn from him, so I had pleaded with him for two years before he agreed to write and direct 'Mausam.' It was our dream project and a wonderful opportunity for us to work as a family.
I lost my dad two years ago to cancer, and before he died, I asked him to write 'Daddy's Little Girl' on a piece of paper for me. I told him it was for an album. He practiced and practiced and then sent it to me, and I had it tattooed onto my wrist and surprised him with it. He cried when he saw it, happy tears. This way I always carry him with me.
When we had gone down there you have to remember KISS had never been to Australia. So all the hysteria of KISS that was happening in the seventies was building up in Australia. These kids were waiting seven years to see KISS. I was lucky enough to be there when we went over. We got the key to the city, it was just great.
The election makes me think of a story of a man who was dying. He had only two minutes to live, so he sent for a clergyman and asked him, "Where is the best place to go to?" He was undecided about it. So the minister told him that each place had its advantages--heaven for climate, and hell for society.
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