James Badge Dale Quotes

Every once in a while I play a true idiot, and they're really fun to play.

I like to think of myself as a physical actor.

I loved Peter Sellers. I thought he was the perfect mix of physical comedy with out-of-the-box humor. I loved his tone; I loved his physicality; I loved everything about what he was doing as a comedic actor.

I'm pretty much of a physical actor.

What's interesting for me is that I generally consider myself to be more of a physical actor, and I'm somebody that doesn't really want to use the dialogue but prefers to act through my body, and then sometimes when I have a script, I look and kind of throw away the dialogue and I just look at how I can expressive it through my body.

I'm a very physical actor.

What I loved about 'War Dogs' was the fact that the tone - turning that story into a spectacular two hour ride is just such a complicated thing to do.

Aagadu' will be a very different film and it will be like a full meal to the audiences.

People used to say, 'Well, how do you fake that?' Two words - we don't. When you got hit with the chair, you got hit with the chair.

I always bring at least 15 to 20 percent of Tiffany to every character that I do. Like when I read 'Girls Trip,' I was like, 'Who been partying with me? Somebody been hanging out with me and done stole some stuff.'

In all these years of doing theatre, I've been a very physical performer - physically demonstrative, yet sticking to the realism of the piece.

I have two acting styles: with and without a horse.

I've stopped showing actors what to actually do. I rather just talk to them about it. Then I usually play music. That's a great way to convey inner emotion, bring the power of style and acting together. That's really what it is, very good acting without talking.

I've got a lot of nervous energy and I trip a lot. I don't have a good equilibrium. In the places where the physical comedy was necessary, it came very naturally and it was fun.

The more serious the situation, the funnier the comedy can be. The greatest comedy plays against the greatest tragedy. Comedy is a red rubber ball and if you throw it against a soft, funny wall, it will not come back. But if you throw it against the hard wall of ultimate reality, it will bounce back and be very lively. Very, very few people understand this.

In real life, I always look at people and how they walk, or how they carry themselves. I think about the body a lot, in performance.

That's how it will be, except that in reality, both today and later, one will stand there with a palpable body and a real head, a real forehead, that is, for smiting on with one's hand.

As an actor, you can really play the intensity and gravity and seriousness of the moment, and just rely on the circumstances being funny. The joke is kind of the situation you're in, or the way you're reacting to something, as opposed to the characters just saying something witty.

I think back to back romantic comedies are good for black film.

...as all souls are equal before their Maker, a two inch putt counts the same as a 250 yard drive. There is a comedy in this and a certain unfairness even, which makes golf an even apter mirror of reality.

If you decide to do comedy that involves risk, risk means risk, and you can't complain of flesh wounds if you sit down at the table to play.

The physical stamina [in Revolution]. I was just shocked by it. I didn't think I had it in me ever, and I wasn't terribly young when I did it. I was in my early forties. That was the first thing I was struck by, not by the acting, not by anything else, but by the physicality.

All of my films I've made have had an element of physicality and action but I really enjoy the drama of it because it's where I feel I'm really doing something.

It really showed that you can do a major motion picture, from the folks at Marvel, that has multiple characters on an epic scale. On top of that, it also showed us that one of the most important elements is a certain kind of levity.

That's just me wanting that supernatural tool to tell a story and also not wanting to be restricted by reality, with how we're telling a tale, because we are a heightened reality on Hannibal. There is a larger-than-life quality to the storytelling when it gets into particulars. I like the idea of being able to dismiss reality, depending on if we can sell it as part of the story.