Oh heavy change. The world deteriorates like a rotting apple, worms and a skin.
It never failed to amaze me how the most ordinary day could be catapulted into the extraordinary in the blink of an eye.
I was coming from a very cerebral, dark, difficult, layered play by Christopher Hampton and doing an action movie in Hollywood (Die Hard) with explosions, and I was holding a gun.
The coalition did not act in Iraq because we had discovered dramatic new evidence of Iraq's pursuit. We acted because we saw the evidence in a dramatic new light - through the prism of our experience on 9/11.
I'm sorry to bang on about it because I know everyone is, but Bryan Cranston in 'Breaking Bad' is remarkable. To see him switch from 'Malcolm in the Middle' to suddenly become Walter White is incredible. It's a) nice to see an actor given that chance, and b) great to see him really take full advantage of it.
Yesterday was glory and joy. Today, a blackened burn everywhere. On the record of my life, these two days will be put down as one
Holy cow, in the course of one week I feel like I've lived about a year!
I feel honored to have been a part of that dramatic change.
I am so grateful that I accepted the offer to do 'CSI,' but it was like being shot out of a cannon, and it was so different from anything that I have ever done.
All great changes are preceded by chaos.
Stand-up comedy is a lot about amplifying emotions and situations; movie acting has a lot to do with mellowing things down and making them subtle. The transition was almost terrifying because of the magnitude of change.
I never in a million years thought that my life would unfold the way it has.
We must make a radical turn, at 360 degrees.
The three years following the release of See The Light were a whirlwind.
Four years ago, who ever thought this would have happened?
Coming from 'V' into 'Homeland' was a really big change and the best gift as an actor you can get - which is to transform so drastically from one genre to the next, from lizard to human being!
I'm a big believer in comedy writers. I've always defended the honor of all comedy writers. It's extremely difficult, but I've always felt that comedy writers far more easily can move toward drama than vice versa.
In the 1920s dramatists attacked their subjects as if the inequities could be resolved. Some of the traditional optimism of America lurked behind most of the early plays. But not now. There is no conviction now that the problem will be solved.
In order to experience real magic it is necessary to make a dramatic shift from outcome to purpose.
And my friends, you ain't seen nothin' yet.
I think it's really strange for somebody that's probably never been in the public eye. All of a sudden I was 'big time' - boom, it all just happened.
I used to be 400 pounds.
Tragedy alters everything.
We'll have a part and it's clearing up, so you think something is going to happen and it totally stops and does something completely different and then the part you thought was going to happen comes out of completely nowhere.
The very metaphor Paul chooses for this decisive moment in his argument shows that what he has in mind is not the unmaking of creation or simply its steady development, but the drastic and dramatic birth of new creation from the womb of the old.
