I'm making my Broadway musical debut at the age of 73 - it's a kind of interesting career arc.
My favorite artists are the ones that I can take their eight or ten albums, and I can see the arc of their life.
It takes stamina to get up like an athlete every single night, seven to eight performances a week, 20 weeks in a row. And there are many young performers who only learn their craft in the two minute bits it takes to film a scene. You never learn the arc of storytelling, the arc of a character that way.
All my games were political games; I was, like Joan of Arc, perpetually being burned at the stake.
There are certain historical figures of such importance that we need to know everything about them, which is why books about Napoleon, Lincoln, Julius Caesar, Joan of Arc, Queen Elizabeth I, and the great religious founders continue to proliferate; these lives require constant reevaluation and interpretation.
I can bend my wrist down to my forearm. I can wrench my fingers backward until they rest on my hand. A hitchhiker's thumb might arc into a 90-degree angle; mine will go to 135.
The great thing about being an actor in a film is that you're able to start knowing exactly where you're going to finish and really paint something in between. You can work to know the arc you need to build. Whereas in television, it is open-ended, and you're constantly guessing. There are pros and cons to both.
The most serious problem doing biography is the matter of time because you have to shape events into a narrative of two hours; you have to create a dramatic arc. That can be a challenge.
I look for two things when I am about to launch into a book. First, there has to be a dramatic arc to the story itself that will carry me, and the reader, from beginning to end. Second, the story has to weave through larger themes that can illuminate the world of the subject.
The boomers' biggest impact will be on eliminating the term 'retirement' and inventing a new stage of life... the new career arc.
When you make a movie, a dramatization based on the real experience of a living subject, you can't airbrush that away into to a perfect movie arc.
I came out to my parents as gay, and then I realized, you know, four or five years later, that I wasn't really happy, no relationships were working, and there was something missing in my life, and you know, I was doing drag, performing and stuff, and I realized through that arc that I was much happier doing that.
What's great in theater is that you can sustain the arc of a character for a full three hours, whereas in film or TV, you have to create that arc in little pieces, and usually out of sequence.
The arc of the American story is long, it is bumpy and uncertain, but it always bends toward a more perfect union.
You have 22 episodes to start from zero to hero; you can really take a nice, big, long arc. In a film, it's tough to do that - you only have 90 minutes.
Every film you're commissioned to write is all about an arc; usually, the arc is that the world creates a change in the character, usually for the better. To not have an arc, the messages and ideas in the film became more prominent.
Like all holy figures whose earthly existence separates them from the broad mass of humanity, a saint is a story, and Joan of Arc's is like no other.
A lot of the television industry is so cookie-cutter. In general, there are so many shows that are easy and bland to watch. You can tune in at any time and know exactly where you are in the story arc because it's pretty much the same every week.
Nonfiction is both easier and harder to write than fiction. It's easier because the facts are already laid out before you, and there is already a narrative arc. What makes it harder is that you are not free to use your imagination and creativity to fill in any missing gaps within the story.
When you guest-star, you're usually at the center of the dramatic arc, so that's fun.
At all levels - with men and women - the 3-point shot has utterly transformed the way the game is played. More and more, the players are spread out, looking to pop behind the 3-point arc.
It's rare that you get to play a great role that has an arc.
I asked my designer friend, Sam Klemick, to make a headdress for me, drawing inspiration from 1920s headpieces, Athena and Joan of Arc. Before each show, I have this quiet meditative moment where I put the headdress on and gather my thoughts and strength.
I like roles of people who can overcome things because there's strength in that and an arc - and roles where they start in one place, and toward the end of the script they end up in a completely different place, so you've seen this growth and some humanity in the role.
At the heart of any successful film is a powerful story. And a story should be just that: a narrative with a beginning, middle, and end, powerful protagonists that audiences can identify with, and a dramatic arc that is able to capture and hold viewers' intellectual and emotional attention.
My favorite part about Mare Barrow is her almost selfish survival instinct, as well as her increasingly gray morality. Her character arc in 'Glass Sword' is a lot deeper and more emotional than before, so I'm glad I got to write this sequel and that people want to read it.
The loveliest roles, for me, have a growth arc - a beginning, a middle, and an end - and I'm always grateful when I can find one of those emotional journeys.
The voice for 'Surly' is, of course, very close to my own voice, but it's informed a lot by this story, by the arc and the animation and working with the whole creative team on 'The Nut Job' in finding what really works.
All the sudden, I was part of the 'No Man's Land' thing, and there was a bundle of core writers for that, but somewhere along the line, I became the go-to guy after that initial arc.
When I launched my first campaign in 1999, I knew that the arc of my public service would have many chapters.
I'm not a huge fan of scary movies, but I love doing them because your character arc gets condensed, and everything is elevated, and so you kind of have this amazing opportunity to go in many different places.
When you're telling a story, the best stories, every character has an arc. Every one. And that arc is usually about finding yourself, or about at least finding something about yourself that you didn't know.
For me, one thing I love is having an arc for a character.
I surrender the idea of having some kind of control over the arc of my career a lot of the time because you never know what tomorrow's going to bring.
The arc of Ken Griffey Jr.'s swing has gotten bigger than when he hit line drives. Juan Gonzalez is a terrific power hitter, too.
The arc of technology is in the direction of unbreakable encryption, and no laws are going to get in the way of that reality.