Teri Reeves Quotes

New York is a character, all on its own, and whenever you film there, it becomes part of the show. That's just the nature of being there.

New York in a way functions as another character within the story, as it does within most of Woody Allen's stories.

It's the texture of New York that people miss by filming elsewhere. There are layers and layers of character - even in the pavement - that you can't get anywhere else. And the speed that the people move. It's so different from other places.

Apparently, the city of Delhi is a 'character' in my novels. I'd argue that it's a ... city... in my novels.

When you're in New York City or Boston or something, you feel surrounded by cities and by culture.

It is the vibe of a city that makes it unique.

L.A. streets aren't just paved real estate but a cosmology, a manifestation of the city's sensibility.

I try to give each performance my own soul, to bring a truth to my character. Hopefully, when I bring that much truth to a character, it resonates with somebody, and it sparks some kind of emotion in them.

An urban novelist never minds a little decay.

One of the things I love about 'Rubicon' is I really recognize the New York City that they're depicting in it, having lived here for 15 years.

Great actors try to dismiss all ideas from their conscious mind in order to provide an experience that is real.

At night, what you see is a city, because all you see is lights. By day, it doesn't look like a city at all. The trees out-number the houses. And that's completely typical of Seattle. You can't quite tell: is it a city, is it a suburb, is the forest growing back?

My studio was on 9th Street between University and Broadway.

A street is a story in asphalt - so it's a paradox that the streets are the one place where the movies play fast and loose with continuity, something to which L.A. streets lend themselves as naturally as does the city's psyche.

Manhattan's always fascinating, too, just a big, stinky, smelly conglomeration of numbered avenues and streets, but it's just got a vibe that's hard to beat. I shouldn't like it, but I do. I can't put my finger on it.

As an actor, you never try to be someone else. You can't.

Obviously an actor draws on his own experience.

There are movies where actors aren't characters but movie stars, being cool beyond belief throughout the whole movie. That is what it is. And we reveal ourselves when we act, very often without noticing. But if I can manage to do a character without showing anything of myself, then that's the ultimate goal for me. No leakage.

As an actor, the biggest compliment you can get, in my book is for someone to believe that you're the character.

I really believe that when you're playing a character that everything is contained in the script. If I'm pulling from things from my own life, then I think I'm being disingenuous to the character and the story.

Both 'The Wire' and 'Queer as Folk' had a big scope. They were panoramas, telling ambitious stories about two cities, Baltimore and Manchester, for the first time.

I really don't want to go to work every day convincing myself of what I'm saying. I want the material to make me a better actor; then I try to return the favor to the material.

Old San Francisco - the one so many nostalgics yearn for - had buildings that related well to each other.

As a director, I have to feel realism from actors, and they can't be plastic.

The sheer sensory experience of San Francisco is unlike anywhere else. Not just the physical beauty, but the textures, the feel, the wind, the ocean. It's a monumental feeling unrivaled by anywhere else. Its a world class, gorgeous city. And the coffee is great.