I get so excited when my daughter says something new, which she is doing every day. I can leave the house for a few hours, come back and meet a totally different person. That's very exciting to me.
I can't speak for the Kathryn Stockett, but I would guess that she feels proud of the progress the South has made because, growing up, she experienced a very different Mississippi than the one that exists today.
Each role has its own different challenges.
I don't care who you are, but you turn into a different person when you don't sleep.
There are different kinds of passages in the movie [Chicken with plums]. One of the passages is like a sitcom and another is a bit more delicate and another is more bizarre, so you have to have people who know how to navigate that.
There are always different things that can happen and I Marjane Satrapi don't want to yell at other people. It's easier if we yell at each other. We're still friends, so obviously it worked out.
When I was younger, it was about doing something that made me nervous. Now, it's for many different reasons. I've had the opportunity to have fun. I don't know why that is, but I like it.
So, it's always different. Some stuff, you want to do because it's a part that you've never played. It's always for story. Sometimes there's a story that you really dig, but there's no part that you're interested in. Sometimes you read a story and you say, "I could do that. I've never done that before. I could do play that part.
It's always interesting to see a director trying different things, and on top of it, doing it right each and almost every time.
Steven Soderbergh really likes Irréversible, that's about all I can tell you. About the making, well, it was a very particular situation, because those people all know each other, and they're all big stars. I felt like the little French guy, really. And I was very flattered to be called on that, of course, but I felt like if I didn't find something to be a little original, different, particular in the movie, I would just disappear.
I'm way different than I was last year. You learn something new every year. I learned a whole lot from last season and a whole lot from this season. I'm still learning.
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.
The main thing about improvising is listening so if something happens that wasn't expected and you know your character, you know what has to happen in this scene, you can react to that in a way that's honest and it might take you in a different direction to go to the same place.
I was really fortunate from the time I arrived in Hollywood to work with some of the greatest directors from the beginning. I worked with Robert Altman, John Boorman, and of course Steven Spielberg, Michael Cimino, Brian De Palma ... I couldn't pick one of them; they were all different, but they are all so talented.
Each story has a different approach for me and I try to work with lighting that will tell you visually the story better than if it was shot in available light.
And I realized again that real life is different from reel life.
There's a different use for different strategies.
When I give a concert, I know they're not going to hear everything; there might be a lot going on. My individual perceptual and cognitive path through the music is just that: one path through music. My experience will be probably at some level different from other people's, and that multiplicity of experience has to be supported by the music. I might just focus on the cowbell the whole time - maybe I have a fever for more cowbell!
The phrase I use is 'easy camaraderie.' Non-western immigrants of color and their progeny like me - my parents came here fifty years ago and I was born and raised in Rochester - whether it's Teju Cole, or Rudresh Mahanthappa, or Himanshu Suri, or Miya Masaoka, or Barack Obama, we all have that in common. And that's different from being descended from enslaved African captives. I am very conscious of that difference, and conscious of how easy it is to forget about it. I find myself always coming up against that.
Perhaps the itinerant upbringing my brothers and I had has something to do with my continued interest in perspectives different from my own.
I look at my job as looking at the world from points of view that are different from mine - sometimes radically different from mine.
I think you have to be flexible above all as an actor; different characters have different demands, actors that you work with are different in their approach, or how you get along or don't get along with them.
The best thing an actor can be is flexible, because all directors are different and all actors are different.
People are becoming more intimately acquainted with people who are different than them - it's not so unusual anymore.
I now realize that I was very fortunate to have grown up in many different places, surrounded by all kinds of people, all kinds of points of view.
