I am so used to being able to express myself from being an actor. So when people don't understand me, I'm just completely lost.
Challenge America grants go to the towns and hamlets of this sprawling country, where big touring companies will rarely go, and major actors, actresses, writers and artists may never appear in person.
You know what I would like to do: make a film with actors standing in empty space so that the spectator would have to imagine the background of the characters.
There are five stages in the life of an actor: Who's Mary Astor? Get me Mary Astor. Get me a Mary Astor Type. Get me a young Mary Astor. Who's Mary Astor?
'One Flew Over the Cuckoo's Nest' is a movie that I just find flawless. Jack Nicholson... I just saw 'The Shining' again the other day; he's so brilliant. He's such a brilliant actor, just unbelievable.
I was a repertory actor, which meant that I did a play every week. I was a different character every week; for a year, I was doing 40 or 50 characters.
I was undeclared. I was in my third year of school. They said you have to decide upon a major, and my father was an actor. My mother was an actress. So, I thought theater might be the way to go.
You know, a lot of actors I think go into acting for therapy from whatever trauma has affected them as children. But for me, I think I sought out the drama. That's why I like doing what I do.
Once you become an actor, it's important to take care of yourself. I live in Santa Monica, where I can mountain bike, hike and go running on the beach. I like a nice sunset jog.
In discussing the process with the actors, I made it clear to them that they could improvise but that the sum total of their improvisation needed to impart certain plot points, and schematic material.
'Son of Frankenstein' is never talked about in the same tone as James Whale's 1931 'Frankenstein.' But it should be. It was Boris Karloff's last appearance in the Frankenstein series and stars Donnie Dunagan, then a child actor.
If you try to make a silent movie with a normal script and you just pull out the dialogue, you will have big problems with the actors because you will ask them to tell a story that you don't know.
[on his satisfaction as an artist] In terms of cinema and filmmaking, there are certainly the unexpected gifts that the actors bestow on you. Film is always a question of compromises with respect to what you originally intended.
I feel like any actor should always be thinking about how to serve the story. The thing to be cautious of is trying to make too much of your 'moment,' or whatever. The story is a lot bigger than you, and you're there to help it along.
What the Bleep Do We Know was not written with a deaf person in mind, but when they met me, it clicked with them to have me in it. But that happens with a lot of actors in Hollywood, not just with me.
I went to school for clothing and textiles and thought this is what I was going to do. Then I started working in costumes and literally said, 'I don't know if I can take the actors.'
Suffice it to say, every actor works differently. Laurence Olivier would put on his costume and when the wardrobe was right, he was in character. That sounds superficial, but it's true, and look at the results.
I came out wanting to be an actor. From my first view of the world, that's what I wanted to be. I'm made of 99 percent ham and 1 percent water. I was just cooked that way!
I'm not in any rush to get anywhere. There's a pressure on actors to get somewhere before it's over. But everyone wants longevity, don't they? It's a career. Why be that flash-in-the-pan, taking every job out of worry it'll soon be over?
I know there are actors we all want to beat up a little. I think it's important to do whatever it takes, and whatever it takes sometimes involves some physical or mental discipline. There's a lot at stake.
I was very pleased you know, and I was afraid that I might stick out, but I didn't. My happiest thing about that picture is that I proved that American actors can speak as well and also fit in with an ensemble like that.
