If I'm not moved by what happens at the end of this play, then I've completely failed, and so has the play, and so has our production. And if that's the case then there really isn't any reason to want to do it.
I moved to Chicago in the early 1990s and I studied improvisation there. I learned some rules that I try to apply still today: Listen. Say yes. Live in the moment. Make sure you play with people who have your back. Make big choices early and often. Don't start a scene where two people are talking about jumping out of a plane. Start the scene having already jumped. If you're scared, look into your partner's eyes — you will feel better.
I made an enjoyable living as a very young man, but I think as I became more comfortable and knowledgeable about myself and what I wanted, I moved into acting.
I moved to New York to do theater, and I got cast in a play that was funny, and then I was the funny guy. I did a movie that was funny, and then I was the funny guy.
I guess after Dances With Wolves they probably tried some derivative westerns, and if they didn't work, they said the western is dead and moved on to something else
I could count my modeling jobs on my hands and toes. When I graduated from college, I moved to New York specifically to study acting, and I needed to pay the bills, and it's better to make a couple thousand dollars in one day than to wait tables six days a week.
I moved out at 18. I always studied classes and trained a lot, you know. I think nowadays is such a different time because there's so many channels promoting the celebrity aspect of things.
I never considered myself part of rock 'n' roll. My stuff was more adult. It was more difficult for teenagers to relate to; my stuff was filled with more despair than anything you'd associate with rock 'n' roll. Since I couldn't see people dancing, I didn't write jitterbugs or twists. I wrote rhythms that moved me. My style requires pure heart singing.
I'd been in a vicious cycle and circle of people and couldn't see my way out. So I picked myself up one day about 15 years ago and moved where I didn't know anyone.
Being a world traveler, I'm touched and moved by everything that happens, especially to children. It gets me emotionally sick and I go through a lot of pain when I see that type of pain. I can't pretend as if I don't see it. It affects me very much.
I never really considered acting as a career until I moved to New York.
I moved to L.A., and people said that I would never find work, that I would never find good friends, and I feel like I was fortunate enough to find the work, but it wouldn't mean anything unless I had a group of people who could appreciate it.
I had been doing plays in New York and on a whim we packed up and moved West, I started doing commercials and plays and guest star spots on TV and one thing led to another and I got Knots Landing.
I think my being such a nomad let me into acting. I was always having to create a new image whenever we moved.
When you've moved past a point where you're just scrambling for jobs, you think about the things that you want to do. And the things that you want to do are governed by what you've seen, what you choose to embrace
To be a student required a peculiar kind of capitulation, a willingness not simply to do as one is told, but to surrendor the movements of one's soul to the unknown complexities of another's. A willingness, not simply to be moved, but to be remade.
I can feel the 60S looming. In my profession, I've just moved along with my age. By thinking in decades, rather than whether someone's 42 or 47, you can give yourself a whole 10 years to turn yourself around in.
At a very young age, I was in Germany watching TV and I told my mom I wanted to be an actor. She said, 'Go for it.' When my dad retired from the military, we moved to Los Angeles, and it all kicked off.
My mother had been a country and western singer but when she moved out to Hollywood found it very difficult to get work so when I was born they put me into dance classes and singing classes as soon as I could walk actually.
About six months ago, I listened to Siamese Dream. That was the first time I'd ever really heard my own album, because I had separated from the experience of making the record. And it really moved me. It made me cry, it's so beautiful.
You must have seen great changes since you were a young man," said Winston tentatively. The old man's pale blue eyes moved from the darts board to the bar, and from the bar to the door of the Gents ... "The beer was better," he said finally. "And cheaper! When I was a young man, mild beer - wallop we used to call it - was fourpence a pint. That was before the war, of course." "Which war was that?" said Winston. "It's all wars," said the old man vaguely. He took up his glass, and his shoulders straightened again. "'Ere's wishing you the very best of 'ealth!
Long before there was discrimination against blacks, there was discrimination against white southerners. When large numbers of these country people moved north during World War II, they were aggressively excluded from neighborhoods, jobs, and homes - not because of their skin color, but their accents.
I live with an 18-month-old Jack Russell named Chicken. He moved in about 15 months ago, and it was very hard at first because I work a lot and he doesn't.
I was moved no end by the work of LaVern Baker.
In Hitchcocks eyes the movement was dramatic, not the acting. When he wanted the audience to be moved, he moved the camera. He was a subtle human being, and he was also the best director I have ever worked with.
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