How to live had started out as an analytical problem of how to place himself so as to intercept the flow of money in the society.
Television has changed. The very nature of it is not even television anymore.
A character I would love to play is Iago, from Othello.
I like the idea of experimenting with different kinds of formats, and I think you've got to keep on your toes and keep changing.
If you meet somebody who's spent any length of time in prison, you don't let your guard down. Ever. And really, that's what that was about-if you open up too much, you're asking to get your teeth kicked in.
When something arrives, you have no idea what's in it, which is good. And then, it's is the story leaps off the page at you and how your character functions within it. There could be just one scene and if it's wonderful, it doesn't matter how much you're working on it because you just want to be in it. It's really about what your character's day to day world looks like, and if you feel like that's something that's complete, and that you'd like to inhabit for awhile. You'll know by a couple of scenes in. If the character grabs you, you run with it.
I don't care to analyze acting. On the other hand there is a fascination because distributors are putting out British films. You get films here with great performances you'll never see again. Why compare. We should go after the businessmen.
The victory is when I realize that I can't do it on my own.
I'm a huge fan of the series of books by Cassandra Clare, The Mortal Instruments. I'm a fan myself, so to be cast as the lead heroine is completely incredible.
No one dare disturb the sound of silence. . .
How unthinkable that, in a country of such bursting plenty, so many people are facing ongoing hunger and poverty. If we are truly each other's keepers, let's support school lunches, food stamps, neighborhood garden projects, and so many other wonderful programs working to put an end to this cruel and needless blight once and for all.