I really wanted to be a newspaper cartoonist, but nobody liked my work. I didn't have the control or flair that was necessary to create something that didn't look childish.
Well, there are better cartoonists now than there ever have been. I firmly believe that. There's some amazing work being done.
I used to worry that I had a finite supply of ideas, that I should hold on to each of them in case it was the last. But then I talked to other cartoonists, and I realized ideas are cheap; you can have a million ideas. The tricky part is the follow-through: making good ones work, making the best out of the raw material!
I love political cartoons from the 19th century, and whenever I complete a piece of acting work that I'm particularly proud of, be it a film or play, I treat myself to a picture by caricaturist James Gillray.
In Giacometti's work, the armature has once again become the life-line of the sculpture, and also, he's brought back to sculpture a nervous sensitivity which the 'pure carving' side of sculpture can lose sight of altogether.
You are carving out a story. You and your colleagues are trying to make something that is bigger than yourself. Although it can be a scary experience because you're putting your work out on the line, it's also incredibly rewarding because a lot of it comes from you.
I always wanted to work with Spencer Tracy, which never happened, although I knew him well. And I never worked with Cary Grant.
Cary Grant was wonderful to work with on stage. He would move downstage, so that as he looked at me the audience had to look at me, too. He knew a lot about the theater and how to move around. He was very secure.
I was inspired by Cary Grant. I wanted to do the kind of work he did and to work in light-hearted roles, in comedies.
Well everybody in Casablanca has problems. Yours may work out.
I've experienced first-hand the wonderful work organizations like J Bar J do for young people in Central Oregon and I am encouraged that the federal government is taking an active role in the Cascade Youth and Family Center.
My parents own a restaurant in downtown Oakland - Garden House - and I started working there at 8. I'd work the cash register while people looked at me skeptically. Free child labor!
A lot of times I think the cast members, the lead characters in a show really set the tone for the show. On some shows, the stars of the show will just be whining and complaining and spending the whole time texting their boyfriends on their Blackberries, and there's just no attention given to the work.
A quarter of my life has been spent on 'Secret Life.' I'm 20 and I've been doing it for five years, so I think the best moments have been when all the cast members get to work together and we get to collaborate and share experiences. We all grew up together.
I think there are shows that are long-running and successful, where some or all of the cast members hate each other, but I think it's a lot easier to have an environment where everyone feels secure and supported to do the best work possible.
I've had the opportunity to work with so many great directors. Different styles, as well, like Gus Van Sant. He just does the casting and the milieu and let's you do your thing, quietly. Bertolucci, who can talk to you about your internal world in quite a creative way or just say, 'Well, put your hand over here.'
This is a work of fiction. All the characters in it, human and otherwise, are imaginary, excepting only certain of the fairy folk, whom it might be unwise to offend by casting doubts on their existence. Or lack thereof.
Villains are always the best roles, but that meant that for months afterwards, all I got offered were absolute cads and bounders and really nasty pieces of work, as well as a lot of people who only had one arm. Such is the limited imaginative power, you see, of a great many casting directors.
I want to do work that has a message and casts a light over an area that's dark. But I'm fun and jovial, too.
Working with Woody Allen was extremely gratifying. He has such a vast catalog of great work that doing one of his films was somewhat unreal.
