I think we're all a little afraid of the dark. If you lived in the country, as I did, there's nothing quite like country dark, which was really black. And as a child, your imagination runs wild.
The openness of rural Nebraska certainly influenced me. That openness, in a way, fosters the imagination. But growing up, Lincoln wasn't a small town. It was a college town. It had record stores and was a liberal place.
I use so much of myself in everything I do. I think every actor does because you have no one else to go to but yourself and your own imagination.
Working with Scorsese was an absolute dream, and one of my favourite ever jobs was 'Beowulf' because it was just pure acting. Your imagination explodes as you try to imagine you're fighting a dragon or whatever.
I don't think most books can be justifiably translated on screen. The film versions can't convey the right emotion, fuel your imagination or allow you to visualise every line the way books do.
I remember the fact that milk was delivered every day by a milkman. In summer, my mother would make what now seem in my middle-aged imagination the most delicious iced milkshakes.
I still find it quite easy to find my way into a child's imagination. We're all Peter Pan ourselves in some respects. Everybody should keep some grip on childhood, even as a grownup.
Doing 'White Collar,' quite often my character goes undercover, so therein lies the compounding of the imagination. I get to play Peter Burke and then someone else when Peter Burke goes undercover.
I believe imagination to be a uniquely human gift. The reason I like my job, and have liked it for more than half a century, is that I get to use my imagination.
They seem much rarer now, those auteur films that come out of a director's imagination and are elliptical and hermetic. All those films that got me into independent cinema when I was watching it seem thin on the ground.
Ghost stories really scare me. I have such a big imagination that after I watch a horror movie like 'The Grudge', I look in the corners of my room for the next two days.
People in north Michigan are not different at all from people in southern Alabama. Trust me, someone who's spent a lot of time in both places. They're all hardworking, simple people.
I scare the neighbors, the kids... They don't come to my house for trick-or-treating, trust me. I had to buy exactly zero amount of dollars worth of candy for the past couple of years.
Being vulnerable is allowing yourself to trust. That's hard for a lot of people to do. They feel a lot more secure if they kind of put walls around themselves. Then they don't have to trust anybody but themselves.
A more important reason is that the bands will intuitively trust someone they think is a peer, and who speaks fondly of the same formative rock and roll experiences.
It's a classic album. If it ain't better than 'The Truth,' it's right there with it. I wouldn't say it if I ain't think so, 'cause 'The Truth' was my baby. That's the pure album.
Mike Zavala: What are we looking for, again? Brian Taylor: All the food groups, man. Dope, money, and guns.
Brian Taylor: Hey, is that Big Evil's mom right there? Mike Zavala: Yeah, it is. That's Mrs. Evil.
Lieutenant Daniel Taylor: [while being ambushed] You guys get that pig unfucked and get it on the tree line!
[Refering to Vietnam] Chris Taylor: Somebody once wrote, "Hell is the impossibility of reason." That's what this place feels like. Hell.
My own position is, that it is largely up to the work itself to suggest the nature of these referential points without dimensions in and through the processes by which the distance between them is maintained.
