As a reader, I read quite widely.
I live in Spain. Oscars are something that are on TV Sunday night. Basically, very late at night. You don't watch, you just read the news after who won or who lost.
It is well to read everything of something, and something of everything.
The great mass of humanity should never learn to read or write.
The beast for me is greed. Whether you read Dante, Swift, or any of these guys, it always boils down to the same thing: the corruption of the soul.
If you read the script, and the character's got something in it that you relate to, then I am keen. But I really think, a lot of the time, my successful auditions are those where I really care about the characters.
People who read poetry, for example, like the feel, the heft and the smell of a book.
I don't have a night stand. If I read at night in bed or too close to sleep-time, I lie awake thinking in the dark for hours.
My older brother and I read all the time. My father read, but only things related to religion. One year, he did read a set of stories that was called something like '365 Stories' out loud to us. They followed a family for the year, a page a day. They were about kids with simple problems - like a wheel coming off their bicycle.
I first read 'The Lord of the Rings' as an adolescent. It's a dense novel, a sprawling, complex monster of a book populated with a prolific number of characters caught up in a narrative structure that, frankly, does not lend itself to conventional storytelling.
I just read an 800-page history of the Scottish Enlightenment and, honestly, I may as well just start it again now, because I cannot remember a single thing. I can barely remember where Scotland is.
Most actors go, 'I read the script and fell in love with it'; I fall in love with the directors.
One of the great perks of being an actor is you're only as smart as the job you're in, you know, and you're only as informed as the job you're in, and you do become an expert, and you read all the books, but then there's a part of, like, you move on.
I'd already made the decision before I'd even read it-just because it was John Sayles. Then when I read it, the themes were actually themes that have been a big part of my life.
And that's what I really love, is finding a script and fantasizing and going to a different world and kind of portraying a character that is interesting. Because other lives interest us, that's why we read magazines like 'People' and try and fascinate and drool over what other people are doing.
You should read history and look at ostracism, persecution, martyrdom, and that kind of thing. They always happen to the best men, you know.
I did the 'Justice League' thing the wrong way. I read too much on the Internet. You can't do that. The Internet is the devil. Or the Internet is not the devil - the comment boards are the devil.
I don't really remember my folks singing to us, but they read to us.
But, Tarantino has seen all of my movies. He's seen my good stuff, he's seen my bad stuff, he's seen the ones I directed, he's read my autobiography. There's an awful lot of things he knows about me, all of which I think had something to do with his casting.
I sort of try to read the books when they come out impartially and not make up my mind, but the fact is when I was reading the sixth, 'Harry Potter And The Half-Blood Prince', there were bits in there where I was going, 'God, I would love to do that because it's so good'.
I would really hate it if I could call up Kafka or Hemingway or Salinger and any question I could throw at them they would have an answer. That's the magic when you read or hear something wonderful - there's no one that has all the answers.
I guess I was the class clown - with a name like Albert Einstein, you don't hide in the back. I'd read the school bulletin to the class, and I'd add activities and make stuff up. It was good, a good 10 minutes every morning.
I like to read. I go to movies quite a bit. I often go to see friends in theater productions. I hike, stretch and work out. I like to sing. I love going back to acting class and working on new material.
I never really think about what people are going to think of the movie afterwards. Or what people are going to call me. I just want to make a great project, and my focus is really all on that. And then I really don't read reviews. Like, you know, go on comment boards or anything.
I have always loved animals, and as a child, I read a lot of horse books. I had a particular favorite called 'Silver Snaffles' that my mother gave away.
I steer clear of books with ugly covers. And ones that are touted as 'sweeping,'_ 'tender' or 'universal.' But to the real question of what's inside: I avoid books that seem to conservatively follow stale formulas. I don't read for plot, a story 'about' this or that.
Kids are all computer-savvy. Sit down and write to your parents on the computer. And just say, I have some questions and I'm scared. There's some stuff I don't know and I really need to talk to you about sex. Tear it off and put it on their pillow. They'll read it.
In the same way that so many people read 'Harry Potter' and went to see 'Harry Potter,' just because a movie is about a kid, doesn't mean it's for kids, and just because a movie is about a girl, doesn't mean it's for girls.
And a friend of mine in the Christys, we used to sit up at night and talk and read and wonder if reincarnation, and if it wasn't reality, what would happen to the human spirit when the body dies? Is there an afterlife? Just questions like that.
But what I hope for from a book - either one that I write or one that I read - is transparency. I want the story to shine through. I don't want to think of the writer.
When I was a freshman in high school, I read a book about the making of Disney's 'Sleeping Beauty' called 'The Art of Animation.' It was this weird revelation for me, because I hadn't considered that people actually get paid to make cartoons.
What's wonderful is to read the different translations - some done in 1600 and some in 1900 - of the same passage. It's fascinating to watch the same tale repeated in such a different way by two different centuries.
I was asked to do a reading of 'G.B.F.' and I loved the script. I thought it was one of the most amazing things I'd read, but it took a year to get a green light for production.
I've read short stories that are as dense as a 19th century novel and novels that really are short stories filled with a lot of helium.
Sometimes you read a script, and you just think, 'Wow, I would love to go and tell that story, and I don't even care what happens to the film, I would just love that experience.' And often, that mentality makes a great film.
If there is a book that the script came from you have to read it, you have to see what you can get out of it: mood, back story and things that may not even be in the film. They kick off your imagination and broaden the character, I think.
