You can go out in a good movie and look bad as well. Gary Cole More Quotes by Gary Cole More Quotes From Gary Cole Then, at some point, you get identified with certain things. Gary Cole certain You need someone to tell you how to do things like hitting your marks, or driving a car so it looks right or getting out of a car so it doesn't take a million years of screen time. Gary Cole caryearsneeds I am also a drummer of sorts. I've got an electronic set sitting in my bedroom. Gary Cole bedroomdrummersitting Being able to fantasize for a couple of days at being a rock singer surpassed most things I've done on stage. Gary Cole rockscoupledone When you make a movie, it's up to so many things and so many people. Gary Cole people I don't think anyone sets out to do something bad, it's just that it's very difficult. Gary Cole difficultthinking I was a little nervous coming in mostly because my first scene was with Martin Sheen, who I'm a huge fan of. Gary Cole fanslittlesfirsts Television is a big roulette table on so many levels. That's all it is for actors. Gary Cole levelsactorstelevision A lot of actors in my age bracket look at being still standing as pretty good. Gary Cole actorsagelooks Karl Malden was quite a mentor. He taught me things he had learned from being in front of a camera so long. Gary Cole mentorcameraslong To be in a movie directed by Wolfgang Petersen, and a movie that had a large budget... I got a taste of what really good filmmaking could be. Gary Cole filmmakingbudgetstaste Clint Eastwood is a very soft-spoken, humble guy, actually, which helped put somebody like me at ease, who had never worked with somebody as huge as that. I'm sure that's not always the case with legendary people. Gary Cole guyhumblepeople Part of you wants to look over at the people watching and say, "Not bad, huh? Me and Clint Eastwood." But you have to get past that and just be an actor. Gary Cole peoplelookspast You make the choice. You look at each scene and you make sure that this is not a person deceiving people. Gary Cole choicespeoplelooks It was really executed well, from the art direction to the wardrobe to everyone else. And I have to say, two really exceptional directors who did three each. Roxann [Dawson] did the first three and Jeremy [Webb] did the second three. And I think they really were very meticulous in getting the right tone because it is both. It isn't dour and it isn't grim, but it's not a romp either. It's truthful and it has room for both of those things. Gary Cole twoartthinking I look at it scene-by-scene. Whether it's a historical character or not, whatever, on the page is one thing and delving into the history or somebody is one thing, but making something work for an audience in front of a camera is another exercise and you bring whatever authenticity you can to it. Gary Cole historicalexercisecharacter But for me, you also have to be conscious of what is going to play. And that includes playing with. Sometimes it's just a vibe. It's what's going to make this scene work. And sometimes there may be something that restricts you that has to do with something that maybe is historically accurate. And then you have to weigh that decision and give up something for a scene to work. Gary Cole giving-updecisionplay If you're onstage and you're improvising and nothing's happening, people are racing for the door. But the director can go shopping later and pick up pieces and moments and insert them. Gary Cole shoppingdoorspeople Improv is not something I had a lot of experience with, because for a long time, my only experience in front of a camera was all television, which is pretty rigid script-wise, except for the occasional scene where you toss in an ad-lib just to elongate something. Gary Cole cameraswiselong You don't really have time to do other than what's written. It's very rigid. Shows have a certain rhythm that nobody wants disturbed. So a lot of that doesn't take place on television, at least the television I was doing at the time when I first started. Gary Cole wanttelevisionfirsts
