Well oddly enough, I liken the years at MGM, and I was there for about eight years, to doing stock, what we used to call repertory or stock, playing a whole bunch of different roles.
You learn a great deal that you can feed into your craft which gives you the experience that you actually need later on, when you start to get the really great roles. You've played that part to a certain degree in that picture, and you played that one in that, and so on. You add it all up, and you have that experience.
Actually the years when I was playing totally un - well, they were just roles that just went by the board, you wouldn't want to know. But anyway, I'm glad I had that chance to build my craft.
Everything I did actually helped to build the revenue, shall we say, of experience, which enabled me to play a variety of roles as I got older.
I don't care whether it's a chance meeting or playing a role that you thought was totally wrong but you did it anyway. It will often turn out to be the thing that will lead you to the role which is sublime.
The thing I always say is that I wasn't going out reaching for roles, I wasn't fighting for roles - people came to me. They always came to me.
Roles came to me. I was very, very lucky in that respect. Great directors, great writers, great producers - they saw something in me that they wanted for their picture or their play or whatever it was, whether it was Edward Albee or whether it was - or Peter Hall, directors. They would come to me, thank God. I was lucky. Lucky, lucky, lucky.
They're great devotees of Noel Coward in England, of course, he's a favorite son, and so to play Coward in London is such fun, and anyway, the role is such a crazy lady. I just love doing that.
I think a good role model has to be sexy. Real, empowered, self-possessed women are sexy. When you're really in control of your choices, your mood, your body, and your opinions, people find you sexy.
When I started out in the '90s, there were not many people of color writing, directing and producing - hence, the roles for people of color were few and far between. There's still few roles in England [where she's from].
Natural talent means to have the ability to transform, to evolve, to play and role-play with the photographer and the stylist. And really be an actress rather than just a mannequin. So that involves a tremendous amount of confidence and your ability to expose yourself to anything that will make a better photograph.
I wasn't a huge fan of the comic book, but I definitely was of the cartoon series. I wasn't much for sitting around and reading as a kid, I preferred to be outside running around and playing sports, but I was absolutely thrilled to get the role of Colossus. I don't think I realised how popular the character was until I got the role and started doing some research; it was then that I really fell in love with the character of Colossus myself.
BenJarvus Green-Ellis was great to me. He's the type of person that you want to learn from because he understands the game and he's been in the league for a while. He's a great role model to a lot of guys on the team, including myself.
My role models are people who can do things; I say to myself, "I wish I could do that." Like women who endure hardships and turn their luck around and bring up children on their own and start a business. Or a social worker who leaves his country, his comfort, his friends, and goes far away to help people he doesn't know. I want to evolve into that, ultimately. I want to be that person who could sacrifice everything for others.
People have notions of what a wife's role should be in this process, and it's been a traditional one of blind adoration. My model is a little different - I think most real marriages are.
I don't have the illusion that there's any position or role in the world with as much potential for bringing about change as that of president of the United States.
I think a few of my most visible roles are crazy or peppy girls, but I've played a lot of characters who are soldiers, or fighters, or meditative characters, and a lot of this stuff hasn't come out.
I feel like I'm always being challenged by my voice acting roles, for multiple different reasons. I still get nervous every time I book a gig.
I've been a soldier, I've been a bunch of little girls, all sorts of roles that I would not have been able to be with on camera context because I just don't look the part.
You can have a role in a movie that was originally something minor in terms of screen time, and all of a sudden we see something and go, wow, that's cool.
I don't think the role of the critic has changed very much. In the most positive sense, the music critic is one who helps the public navigate what's out there, especially in bringing attention to things they otherwise wouldn't hear about, or to provide a new window into something familiar.
My interactions with musicians have been simply that: interactions with musicians. Issues of gender, or anything else beyond the music-making, have in my experience played no role in whether or not a musician has been able to articulate my intentions as a composer.
I've always said it's flattering to be desired, just as it's flattering that people accept the reality of the character you play. But it was always ridiculous to assume that because I could play a gigolo on screen I'd play anything like that role off screen.
I knew how to act and had studied acting and enjoyed it, but I'd never pushed myself to really perform as an actor, and create a role, and have the whole character's backstory.
The scene at a certain time was definitely boys; those huge warehouses were kind of violent parties, even. I think people in your immediate community made a nightlife scene that actually did break down gender roles and were along different lines of identity that had to do with race and experience in the '90s, rather than gender.
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