It's been fascinating working on a set in New York. Just to be in the thick of it is really interesting, because on any given day you're having to react to what New York is offering, if that's a thunderstorm or blocked traffic or a bunch of noise.
As an actor, one's role is very much to respond and react to the situation within the context of the character and his world.
You should tell yourself frequently 'I will only react to constructive suggestions.' This gives you positive ammunition against your own negative thoughts and those of others.
People would react to books by authors like James and Austen almost on a gut level. I think it was not so much the message, because the best authors do not have obvious messages. These authors were disturbing to my students because of their perspectives on life.
You really have to act on the force, too. You're involved in a hundred things a day, and you have to react in a hundred different ways, depending on what's going on. And you learn that as you go through your career, how you handle certain situations, interrogations, how you carry yourself. There's a kind of acting to it.
When I throw a softball, there's no time to think about the motion of my arm. I just look at the first baseman's glove and react.
Admittedly, a homosexual can be conditioned to react sexually to a woman, or to an old boot for that matter. In fact, both homo - and heterosexual experimental subjects have been conditioned to react sexually to an old boot, and you can save a lot of money that way.
A doctor is not a mechanic. A car doesn't react with a mechanic, but a human being does.
The hardest thing is getting fake hit. You really have to sell it. Somebody comes at you and stops a couple inches from your face. You have to react like it's painful. In my training, those were the days I was more sore, doing gut punches or getting thrown against walls. You're moving your body in a way that's not natural.
I need to react to a script, to feel strongly about it in some way. And I need it to be a complex character for sure. And also, I think a lot about what kind of audience there is for the film, what they're looking for and ways to connect with them in the playing of a character.
When you listen, as a human being and an actor, you can react authentically.
Life is 10% what happens to you and 90% how you react to it.
Ultimately it's a leap of faith and a leap of imagination to put yourself back in time into those conditions and situations and see how you would react.
They are very personal, emotional songs - people react to them very strongly.
When I step into a character's shoes, I don't judge them. I make a conscious effort not to look from the outside in but look from the inside out, and when you do that it allows you to feel and sense things more, and act and react from a core, you know?
I like the tradition of ordinary men in extraordinary circumstances and how they react to events which force them to be heroic in a way that is not in their natures.
There are things we can control and the things we can't control. I can't control how people react to the work I do.
Teens aren't just interested in getting laid. I won't believe that's all they're interested in. I have four younger sisters and they're sick of being shown how they're supposed to react in bed.
As a goalkeeper you need to be good at organising the people in front of you and motivating them. You need to see what's going on and react to the threats. Just like a good manager in business.
I never live in the present. I'd do interviews and people will say, 'Isn't this great?' or 'Can you believe?' And I would react, like, 'No, I can't believe it because I'm not living in this moment.'
Our lives are not determined by what happens to us but how we react to what happens, not by what life brings us but the attitude we bring to life.
Showing 'Get Out' to a room full of strangers and having them react lets them be introspective and see the way certain images affect other people.
Fashion is a tool... to compete in life outside the home. People like you better, without knowing why, because people always react well to a person they like the looks of.
Look, I think the notion that there's a dogma or doctrine of foreign policy that gives you a textbook recipe for how to react to all situations is really nonsense.
I love playing to people and seeing them react.
Nature is good at connectivity. The impact of diverse human activities is observed and absorbed throughout nature. Everything is linked. Nature has no problem with coherence. Ecosystems react with their own logic.
Failure happens all the time. It happens every day in practice. What makes you better is how you react to it.
What your foes do derives its significance or consequence from the way you react.
Nobody ever dared with Frank, because he had such mood swings, and you never knew how he was going to react. But I could tell the minute I saw him that he was going to be in my corner.
I can't control how people are going to react. I try not to worry about what I can't control.
Leadership is a matter of having people look at you and gain confidence, seeing how you react. If you're in control, they're in control.
You have to suspend disbelief a little bit to buy into your situation and to the story and to how the character will react. You have to tweak your credibility a little bit, is basically what it comes down to.
As a writer, you always try to imagine, 'What if I were in a situation like this? How would I react?'
Keep your ears open, your eyes open, grab everything you can, react, and learn!
So, the combination of looking at lots of different people and how they react to each other and how they relate to each other and waiting for that inspiration is the thing that allows me to keep writing.
Music is very abstract. When we talk about music, we're not discussing the music itself but rather how we react to it.
