There were time when I was into method acting that I did have moments of residual character emotions, because the method bases your emotional responses as a character on emotional experiences from your real life.
I do have ADD and in real life, I'm all over the place and can hardly focus. If we were talking for, for more than an hour or so, I'd start drifting off... I can't sit still too long.
All I can say is I was a lot more discreet as a candidate than I was in real life. Can I say that? Maybe it's indiscreet to talk about discretion.
I guess he wanted to see a little more sexual activity because in real life, in bed I think less is more and let the woman come to me. Frankly, I don't even need a woman there.
Actors generally get to do things you probably shouldn't do in real life - well, at least as much as one might like to or be tempted to. Though I suppose a lot of actors just go ahead and do it, don't they?
Real life is the life that's in you, not your circumstances, like where you live or what job you have or who you're in relationship with.
I am not at all computer literate in real life. I haven't yet found a reason to be. Once I find a reason why I need to be on the Internet, then I will be.
I don't feel drawn to lightness, I need something more. I feel that - oh, I hate saying this, it sounds so wanky - but I feel a real urge to give voices to people we don't usually hear from in real life.
Onstage I'm the one in control - I'm not at the mercy of how an editor chooses to put the scene together later. I can do things onstage that I would never do in real life. It's very freeing.
In my own life, when I was most inspired by a teacher, it always involved a real dialogue, a looseness and a real caring and compassion. It was not without rigor, not without discipline, not without standards, but all that was done out of love.
I'm a real dumb-dumb in real life. I'm just book smart. But definitely not street smart. The other day I lost my jacket in a cab. And I'll forget things every time I leave the house.
In movies and TV, we tend to fall into tropes about how characters might get out of problems. But when you look at real life, you realize that there is a lot of drama of not being able to get out of the problems.
It's still a trip for me to see somebody that I've only seen on television or in a movie. When they are there in real life, it's very different. When we played Detroit, Kevin Costner played before us.
The music industry's actions at the time of 9/11 and since have been actions driven by patriotism in most instances, and greed and stupidity to a lesser degree. Sounds like real life doesn't it?
Writing songs helped me figure out how to communicate with other people. I finally figured out that if I could express something in a song, I could probably express it in my real life, too.
We have long observed that every neurosis has the result, and therefore probably the purpose, of forcing the patient out of real life, of alienating him from actuality.
My characters all have issues, but I don't see that as weird or abnormal because I think in real life there are very few bland, normal people.
Discomfort levels in our societies are rising, or so it would seem. In theory, we invoke diversity and tolerance. But in real life, we raise our hackles and withdraw into ourselves.
Suddenly we saw that you could do plays about real life, and people had been doing them for some time, but they weren't always getting to the audiences. They were performed in little, tiny, theatres.
The biggest similarity between me and my character is that we've both played clubs for 20 years. In real life, the clubs aren't quite as controlled - and my hair isn't quite as in place as it is on 'Ally McBeal.'
Somewhere during the 'Next to Normal' Broadway run, I found myself learning more about myself onstage than in real life, and I truly realized the beautiful, tremendous, extraordinary gift that is performing.
