My dream role is Richard Pryor, no question about that. I'm a big Richard Pryor fan. I've always been intrigued about the darkness behind his comedy; that would always be a dream role for me.
Music is the love child birthed from the boundless freedom found in dreams and the rapturous opposition faced in life; for that, we should be so grateful for both the light and the dark.
Moon reveals it's beauty in darkness to illuminate the world with the light of love. When humanity suffers, let us be like the moon.
In the darkest sky, stars hang on high; showing us the light of hope and telling us that dreams never die, don’t see the darkness, wait for the morning sun.
Twice I had been stopped by these jobs, and I thought the role on Dark Shadows would go on for about three or four weeks. And then, the phenomenon began, the role caught on, the mail started to flood in.
But with The Dark Crystal, instead of puppetry we're trying to go toward a sense of realism - toward a reality of creatures that are actually alive and we're mixing up puppetry and all kinds of other techniques.
If you're an older sibling and you have a younger sibling who needs mentoring or is afraid of the dark, you develop nurturing and empathic skills that you wouldn't otherwise have.
Theater people say you are either a comedian or a tragedian, and I'm a tragedian. And the vexing, dark characters, the ones where I don't understand their pain or their anguish, they are the characters that appeal to me.
In 'Out of the Dark,' I'm talking about my own life. I'm not talking as a character or speaking as a character. I was not as free as when I write fiction.
Angels are not complete, they need their counterparts, the dark needs the bright, the hidden needs the open, and vice versa. Sometimes they meet and recognise each other. Sometimes, as with Horatio and me, the pairing occurs over spaces of time and d...
I started listening to the Cure around the time I discovered Joy Division and, like Joy Division, they have shaped my taste in all sorts of dark and dreary ways.
Man, 'Hill Street Blues' was on when I was 12, and I remember feeling I'd never seen anything like it. It was that far ahead of its time, with dark characters you loved.
There's the animation ghetto of feature films in this country. There's this flavor at DreamWorks, and Pixar does their own thing, and generally they're safe. But if you look at Walt Disney's original films, at the time and in the context, they weren'...
Dr. Schreber: You are probably wondering why I keep appearing in your memories, John. It is because I have inserted myself into them.
Inspector Frank Bumstead: So Husselbeck, what kind of killer do you think stops to save a dying fish?
Husselbeck: Everything Detective Walenski committed to paper should be here. Inspector Frank Bumstead: The only thing that should be committed is Wolenski.
[after overhearing a phone call between Emma and Karl] Mr. Hand: Karl. Uncle Karl. Haven't seen you in so long. Yes. [Floats away]
Gretchen: And what if you could go back in time and take all those hours of pain and darkness and replace them with something better?
Lines on screen: They say it's the last song. They don't know us, you see. It's only the last song if we let it be.
Selma: [singing] This isn't the last song, there's no violin, the choir is quiet, and no one takes a spin, this is the next to last song, and that's all...
Selma: Clatter, crash, clack, racket, bang, thump rattle, clang, crack, thud, whack, bam! It's music, now dance!
