Christian Camargo Quotes

I've gotten to work with some wonderful directors and people who have been great teachers to me.

My father was a very good craftsman. He made furniture, he made silverware and he had an incredible gift in terms of how you can make something yourself.

I have spent my life paying attention to my art form, developing my art form, worrying about my show and what I'm bringing to people, making sure that I give them a fine trade.

My work is really abject and self-effacing sometimes. I mean, it's big and overwrought, but it's just paper dolls, and it's kind of silly.

My father was very much a handy person round the house, and I learnt a lot of carpentry from him.

Now I need to take a piece of wood and make it sound like the railroad track, but I also had to make it beautiful and lovable so that a person playing it would think of it in terms of his mistress, a bartender, his wife, a good psychiatrist - whatever.

It's like a kitchen, acting. Put a chef in a kitchen and they will have different recipes. Whatever your recipe, what works for you won't work for another.

It is well with me only when I have a chisel in my hand.

All the truly great stand-ups say, 'I go onstage, and I work on jokes. The inspiration will happen while I'm doing my work.' To me, in the end, the surest thing is work.

Writing is harder than acting. I enjoy acting for just the brevity with which you can be in the experience of doing it. Writing is kind of more satisfying in that you're creating a world and doing something that feels bigger, but it's very time consuming and has a higher threshold for failure.

It's a very different thing when you're creating the world as opposed to when you're just part of the world. I love the detail of it, the problem-solving of it, and I love working with actors.

You'd be waiting 30 or 40 years for me to build a table. I have more than two left hands.

I learn from my family. And it's not like I learn from them on the sets only.

I don't design. I don't paint. I absolutely never touch my works.

I don't approach my acting as just saying a few lines and then going off-screen. It's a craft. I really invest in trying to make it a craft.

I've always written my own scripts, I really like doing everything from the beginning and taking it all the way through, I've probably learned that from my dad.

Take some wood and canvas and nails and things. Build yourself a theater, a stage, light it, learn about it. When you've done that you will probably know how to write a play.

I learned what I could do with my voice on stages and because of the people that I was around. It wasn't me sitting in a room by myself. I didn't know what I was doing. I was figuring it out on the fly.

It feels amazing to be back on set. It feels like home, even though the territory is a little bit unfamiliar because it's a new show, it's a new character, but once you get in the groove and you start to settle in and trust the moment, you start to really feel at home.

The skills of the modern artist are the opposite of those of the craftsman: instead of acquiring techniques for producing classes of objects, the artist today perfects the means suited to his particular work.

The live show allows me to transcend myself, because it's not about me anymore. The writing process is very much about me but then the live show is not. They feel really different.

As an actress, you're living something through the duration of the play and its geography. I've always seen writing the same way. It's like somehow I'm moving through the terrain of the book as a performer.

It takes practice to shave the skin off the light.

The first hole made through a piece of stone is a revelation.

Everything that a painter did or that a writer wrote was a part of his training and preparation for what he was to do.