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What's great about being a character actor is you know that you can survive forever. it's not about the gloss of your eyebrows.
-Martin Short
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What's Great About Being A Character Actor

Martin Short
What's great about being a character actor is you know that you can survive forever. it's not about the gloss of your eyebrows.
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Character Eyebrows Forever

More From Martin Short

But i always curl my lashes, even if i don't put on mascara. i'll also put on a lip gloss or lip balm. and i always brush my eyebrows. i have very thick eyebrows - i'm just now starting to thin them out a bit.
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I have become a bit obsessed with eyebrows, i used to never have any and then i realised big eyebrows are good and now i'm an eyebrow fiend. everyone comes to me to get their eyebrows done.
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On sofia coppola's 16th birthday, way back in 1987, i stole a lip gloss from her sistine chapel of a bedroom. years later, i left a chanel lip gloss in the reception of the mercer hotel for her. you know why? i believe that you've got to fix your karma.
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Amongst the learned the lawyers claim first place, the most self-satisfied class of people, as they roll their rock of sisyphus and string together six hundred laws in the same breath, no matter whether relevant or not, piling up opinion on opinion and gloss on gloss to make their profession seem the most difficult of all. anything which causes trouble has special merit in their eyes.
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Beauty is but a vain and doubtful good; a shining gloss that fadeth suddenly; a flower that dies when it begins to bud; a doubtful good, a gloss, a glass, a flower, lost, faded, broken, dead within an hour.
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You can say something that can really help and actor and you can say something that can really get in the way of an actor's performance, kind of cut them off from their instincts and really get into their heads. and every actor's different. every actor requires something different. being an actor, for me, was the greatest training to be a writer and director.
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I find myself acting for an editor more, because there's a quick turnaround with television, so you want to try and seem like you're as frenetic as possible, while replicating your movement so you're giving the editor more opportunity to cut within the different takes. if you're so crazy that you're sitting in one take and standing in another, the editor can only choose one take or the other. but if you can wrangle yourself into the same spot over and over, then you give them more choices for you.
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I am an independent film-maker first and foremost. i have always cut my own cloth.
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