The only thing hard about being an actor is being out of work. So, when you get a job - that part ain't hard at all.
When we were making it [Star Wars], none of the effects were in. So the first time, I thought it was, you know, that - I mean, we were surrounded by English crew members that could hardly keep themselves together. They were, "Here comes the guy in the dog suit." They made fun of us, which was OK. But the first time I was sitting in a theater, and I saw all the effects in, and the big ship flew over the audience, and the sound rumbled, I pretty much thought we were close to home.
It's the primordial characters [of the Star Wars]. It's the beautiful princess and the callow youth and the smartass that I played and the wise old warrior that Alec Guinness played. And it was a fairy tale. It was a fairy tale.
[ Chadwick Boseman] was not a baseball player. He spent, I don't know, countless hours, many months, working two sessions a day with professional pro coaches to develop the baseball skills that he needed.
Chadwick Boseman work as an actor, I think, is truly remarkable, and I had a great time working with him.
[ Chadwick Boseman] is a remarkable actor, and he's a remarkable person.
I came across the script [42], and I read it, and I said, "I really want to do this." And when I had my agent call, they said, ah, you know, it's not what they're looking for. So, OK. And then I let it go for a while, and then it just kept gnawing at me, so I kept pushing.
That [film What's My Line] was very useful to me because it had Branch Rickey in a social situation. Every other bit of film [42] that I had was him making a speech.
What I found was an emotional consistency with him. The words, the scenes, the situations - I wasn't mimicking what I thought Branch Rickey's emotional reality would have been.
I shaved my hairline back and dyed my hair and wore a little powder, a little paint, a fat suit, and I changed my voice, but the emotions were consistent with what the point of the scene [with Branch Rickey] was.
[Jimmy] Breslin's [write] really great book on Branch Rickey. And Branch Rickey himself wrote quite a lot. There's some film and kinescope from television.
What I think is really great about this movie [42], that young people who weren't there will have a chance to have the visceral experience of what Jackie Robinson went through.
The thing I always guard against when I'm talking to people I'm working with about a script is that there's a thing I don't like and it's called "talk story." It's when you're talking about the story; the characters are tasked with talking about the story instead of allowing the audience to experience the story.
I knew that there was an aspect to this story that was beyond the typical and that it was something very important about America, about our culture, and about bringing a story to a new generation that perhaps didn't know the details of it, (and) hadn't had the visceral experience that this film is [42].
I think it turned out to be a pretty good movie [42]. I wouldn't lie to you.
It's time to change the conversation about nature to focus on what we all have in common: our shared humanity.
The environment has become a political, polarizing issue.
It's always nice to anticipate working in something that you know people will have an appetite for.
I have an attorney. I'm looking to be rich like Harrison [Ford]. I'm trying to have planes and do all that stuff.
Baseball was a metaphor for America, both here and in terms of how it was understood by the rest of the world.
You have to remember that baseball really was the American pastime in the Forties, not football, basketball or any other sport.
I believe that the racial injustice which existed such a short time ago probably would have persisted longer if the color barrier had not been broken in baseball.
The job's always the same. It involves helping to tell the story and creating an alloy between character and story that serves the film.
I don't think nostalgia is very useful to me. There is a story to be told, there's behaviour to create or to bring to the screen that will help tell that story, and nostalgia is just not really a big part of my emotional package.
I think people only have so much interest in anybody, and if you barrage them in between the times you have something to offer them you become a personality rather than an actor - much more short-lived. I only work once a year. And that's enough.
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