Paul Wesley Quotes

I was on 'Home and Away' for about three or four months. I loved it.

I consider 'White Collar' my home base. I'm so lucky to get to play a character that's very multifaceted and the writers take risks on and never get into a staid process with.

I had been watching 'Home and Away' for quite a while, so joining the cast was quite weird. The show is so fast-paced, and at first it was overwhelming, but at the same time was quite laid back.

We did four months on 'Line of Duty' from beginning to end, and that would be a long theater run.

The one nice thing about doing a character for a long time is, you begin to feel more comfortable, and you are thinking less and behaving more.

I had a really nice time on [Alphas]. It was a bunch of really good actors, and I was particularly thrilled to be working with David Strathairn.

Let us buy atleast one product of Khadi fabric and help light a lamp of Diwali in the homes of the poor.

You improve yourself and light up the corner that you live on. You may not touch a gazillion lives, but you can light up your own space, light up your home.

I grew up in music theater playing to the audience - singing and dancing and showing off. That's really my background. But the camera's different. I think I'm more at home on stage.

The daily employment of cunning marks a little mind, it generally happens that those who resort to it in one respect to protect themselves lay themselves open to attack in another.

You never know when you're on a show if you're actually going to love it. For the episodes that I'm not in, I read them, but I try to just forget it, as long as it isn't important to my character. That way when the episodes air I get to watch it like a fan and actually enjoy it.

I had to be on the set for 'Who Framed Roger Rabbit' because my character was interacting with Bob Hoskins. It's a lot of 'hurry up and wait.' So there I was, at 2 a.m., sitting in a trailer at Griffith Park trying to stay awake. And I said to myself, 'This stinks.' The way I do it is better. I go into the studio about 10 a.m. There's no makeup to worry about. I can wear whatever I want. As soon I get there, I'm good to go. I record my stuff and go home.

42 is a nice number that you can take home and introduce to your family.

You end up loving every character that you play but a lot of the people I've played, I should just say for myself, I played, I wouldn't necessarily want to continue playing them. I've done them. It's like going on a trip. You go, you're amazed, you're glad you're there but you're glad to get home. And that's how I feel most of the time.

You know, for an actor to come into the midst of that, it's - It can either be difficult and somewhat unnerving, or it can be very embracing and like, kind of stepping into a nice hot tub.

As I get older, I'm more willing to take on more, I guess. I feel more comfortable kind of being different characters and kind of stretching it a little more. Like with The Visitation. At least for me, being an actor, I have to draw from human experiences, so it was kind of a stretch playing that role. Kind of supernatural... kind of like what I did in The Crow actually.

It was a fabulous experience shooting [in the Aviator], working with Leo [DiCaprio] and Danny Huston in the scene. It was great. I think what was most eye-opening about it was that [Martin] Scorsese was just like any good director you work with.

We often seem to be swimming through such a miasma of sexual violence - in advertising, television programming, heavy metal, rap, films, and worst of all, in the home - that even First Amendment absolutists sometimes daydream about how nice it would be to have government-as-nanny just outlaw all this effluent.

The nice thing about having relatives' kids around is that they go home.

Photons come out of nowhere, they cannot be stored, they can barely be pinned down in time, and they have no home in space whatsoever. That is, light occupies no volume and has no mass. The similarity between a thought and a photon is very deep. Both are born in a region beyond space and time where nature controls all processes in that void which is full of creative intelligence.

So, yes, the five years that we've been working on Star Trek: Deep Space Nine has evidenced a real deepening of all the characters, not only mine.

Doubtful, but it did work... "Annabeth?" Percy said again. "You're planning something. You've got that I'm-planning-something look." "I don't have an I'm-planning-something look." "Yeah, you totally do. Your eyebrows knit and your lips press together and ---" "Do you have a pen?" she asked him. "You're kidding, right?" He brought out Riptide. "Yes, but can you actually write with it?" "I--I don't know," he admitted. "Never tried.

I was hoping that Neville would assist me with the first stage of the operation,” he said, “and I am sure he will perform it admirably.

They won't talk to you because I'm undercover.

A dense undergrowth of extension cords sustains my upper world of lights, music, and machines of comfort.