It's a question of methods. Everybody wants results, but nobody wants to do what they have to do to get them done.
One of my favorite things in watching an actor is feeling, The story is safe in your hands. I can lean back and trust you with this.
One of the great things about this cast is that we've been able to take actors of relatively the same age group that would never usually meet. You know, like bridging the comedydrama world that for some reason casting directors never really want to bridge or you get into one community and that's kind of it.
Well, it's sort of funny to try and get that balance between just accepting the reality of my friend [co-star Satya Bhabha] flying in from the ceiling of the theatre and like starting to do a dance with demon hipster chicks. It's like, so how do we react when he throws fireballs? Are we surprised? Does this happen a lot?
I didn't like most of my boyfriends. I'm a perfect example of somebody who will make it work no matter what. Like, I once had a guy move in with me. He was my least favorite. Nobody who went out with us knew that we were together. I just would not give off the vibe.
I don't have any trouble believing that you would avoid something seemingly perfect because you're in something you really want to prove to yourself you can do right.
The best thing about serial drama - especially about screwball comedy - is blocked love.
I was good at digging holes. It was the rest of life I sucked at.
It costs lots of money to make records. It costs lots of money to generate artwork and manufacture and then ship things to people. If it keeps getting stolen, then the band has less ability to come to your town and perform. And that is ultimately what all of us want to do.
I think sometimes when people start doing improv there's some regression towards trying to replicate the "good" improvisers that they've read about in their improv books or heard about from their teachers. That's understandable, because they're trying to learn technique and stuff, but I actually think that my favorite performers are ones who have unique improv technique but also have a unique point of view that you can feel with them and their performances.
In practice [monetary management] is merely a high-sounding euphemism for continuous currency debasement. It consists of constant lying in order to support constant swindling. Instead of automatic currencies based on gold, people are forced to take managed currencies based on guile. Instead of precious metals they hold paper promises whose value falls with every bureaucratic whim. And they are suavely assured that only hopelessly antiquated minds dream of returning to truth and honesty and solvency and gold.