In a rehearsal room, your real resource as an actor aren't the things around you; your resources are your imagination and your director and the other actors. In those close quarters, your imagination and your skills are what you turn to.
Don't worry about the room being messy! Everything can't be perfect - you have to let some things go, and it's better to actually sit down on the floor with your child than spend time worrying about having a perfect house.
Obviously, when you walk into a room and see people like Ashley Judd and Morgan Freeman and Charles Martin Smith behind the camera, it's big time. You just try not to think about it, try and keep up, hold on for the ride.
As I'm always fond of telling hosts at the Oscars who are doing it for their first time, for everybody who wins, there are four people who don't. As the evening wears on, the room fills up with losers, and then they are bitter.
It gets very tiring when you are filming and then taken to a room to do school work. I never get any rest time. It is either work or school. Once you are an adult, you get to take a nap in between shots.
You have to get the casting right. You have to get the people behind it. Your director might not be the right director for the project. And then, it has to test and those people in that room, wherever they are, have to turn those buttons the right wa...
In the early 1970s. 1971, '72. The rooms were closing down, record labels weren't signing acoustic acts any more. Although they had been pretty much been getting out of that for some time before that.
The group-effort sound in recording of 'Sea Lion' is like, you really hear all the people in the room and hear them interlocking. There's a real freight-train energy of all these people at the same time playing.
You know the first time I sat in the chair I felt anything but up, it was very emotional for me. I had a chair in my hotel room, a chair at rehearsal, and I was trying to spend as much time as I could in the chair.
I'm spending way too much time test running my Vine videos. I'll go into a room and close the door and be in there for an hour workshopping a Vine video that I never even post. So that's probably a huge time suck.
I have a very hard time picturing myself in a room with some type of goo oozing out of an air vent and killing me; that doesn't really scare me because I don't think that's going to happen to me.
My process is to be by myself when I record. It's quite an emotional performance to pull off when someone else is in the room. I prefer to go away and have my own time with it, bring it in later.
But certainly in my grandmother's time - and when I was growing up, yeah, Demetrie's bathroom was on the side of the house, it was a separate door. Still, to this day, I've never been in that room.
I have been criticized a lot for not looking perfect in every photograph. I'm not embarrassed about it. I'm proud of it. If I took perfect pictures all the time, the people standing in the room with me, or on the carpet, would think, 'What an actress...
We're all in the same room, so I want people to be involved with one another, but again you can't decide exactly to what extent that operates. It varies all the time and it depends on the show, it depends on the audience, it depends on everything.
The urge to miniaturize electronics did not exist before the space program. I mean our grandparents had radios that was furniture in the living room. Nobody at the time was saying, 'Gee, I want to carry that in my pocket.' Which is a non-thought.
I'm trying to do what I have never done - give the impression one has on entering a room: one sees everything and at the same time nothing.
Some people take certain things and they try to forget what that pain felt like. I don't. I take that same pain and I chase it every time I walk in a weight room.
I can see my ghost trying to get that Academy Award, forever stuck in a casting office. Can you imagine? I've spent enough time in audition rooms. I don't want to be doing that in my afterlife.
Most of the time, I get auditions for deaf characters where the scene has them communicating in really convoluted ways, like reading lips from across the room when the other person's back is turned or having other people parrot what they say.
I'm alive today, therefore I'm just as much a part of our time as everybody else. The times will just have to enlarge themselves to make room for me, won't they, and for everybody else.
