It's an honor for me to have the opportunity to work with Emilio Estefan.
I like the idea of experimenting with different kinds of formats, and I think you've got to keep on your toes and keep changing.
A character I would love to play is Iago, from Othello.
If you meet somebody who's spent any length of time in prison, you don't let your guard down. Ever. And really, that's what that was about-if you open up too much, you're asking to get your teeth kicked in.
When something arrives, you have no idea what's in it, which is good. And then, it's is the story leaps off the page at you and how your character functions within it. There could be just one scene and if it's wonderful, it doesn't matter how much you're working on it because you just want to be in it. It's really about what your character's day to day world looks like, and if you feel like that's something that's complete, and that you'd like to inhabit for awhile. You'll know by a couple of scenes in. If the character grabs you, you run with it.
I don't care to analyze acting. On the other hand there is a fascination because distributors are putting out British films. You get films here with great performances you'll never see again. Why compare. We should go after the businessmen.
The better the writing, the easier it gets.
The writer is delegated to declare and to celebrate man's proven capacity for greatness of heart and spirit—for gallantry in defeat, for courage, compassion and love. In the endless war against weakness and despair, these are the bright rally flags of hope and of emulation. I hold that a writer who does not believe in the perfectibility of man has no dedication nor any membership in literature.
Things that break - be they bones, hearts, or promises - can be put back together but will never really be whole.
Every human brain is both a broadcasting and receiving station for the vibration of thought.
Big pharma has a strangle hold on the politicians. They're stepping over the corpses of the children of America to cash their checks.