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I wanted to play it with an economy of words and create this whole feeling through attitude and movement. It was just the kind of character I had envisioned for a long time, keep to the mystery and allude to what happened in the past. It came about after the frustration of doing Rawhide for so long. I felt the less he said the stronger he became and the more he grew in the imagination of the audience.
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On playing the Man With No Name character
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p. 133.

 

Clint Eastwood

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I felt like lying down by the side of the trail and remembering it all. The woods do that to you, they always look familiar, long lost, like the face of a long-dead relative, like an old dream, like a piece of forgotten song drifting across the water, most of all like golden eternities of past childhood or past manhood and all the living and the dying and the heartbreak that went on a million years ago and the clouds as they pass overhead seem to testify (by their own lonesome familiarity) to this feeling. Ecstacy, even, I felt, with flashes of sudden remembrance, and feeling sweaty and drowsy I felt like sleeping and dreaming in the grass.

 

Jack Kerouac

 

There came a point in time, with all the difficulty, all the frustration, where I was quite content to be where I was. I suppose one could call it a kind of enchantment, I don't know. The shoot was so difficult on the crew and the extras. Often, it was unpleasant for them and many left. But difficulty also creates its own kind of beauty, I suppose. And while I don't revisit it unless asked, there is this sense of apartness I felt during that period of time from our own world. Perhaps the others felt the same, I'm unsure, and that is what you might feel when you watch the movie. We were all so different, temperamentally from one another, it's impossible to believe that we were together for so long. The cast and crew. How could we be more different from one another? It's difficult to imagine. But something lovely came of it.

 

Madeleine Stowe

 

It is more inspirational, I’d say, with the Tick. Because once you grasp or realize who this guy is, the fact that you’re inventing a world and an atmosphere and a persona that, really, his past is a mystery. So everything that he looks at or perceives can be brand new, and he can get really, really excited and intrigued by something that’s just a commonality for everybody else, that’s humorous. He’s like a child; everything’s new. So you just bring that attitude to him, a childlike attitude of discovering things.
Yet you’ve got this great writing, where everything’s mixed metaphor, and he’s articulate, and he describes everything in a new way. It’s inspiring as an actor to be able to go to that place. Anything you do is not going to be wrong. All you’ve got to do is just be inventive with this character and have fun. That’s the definition of an ingenious character. To get to step into the shoes of the Tick, I just felt that was an honor. Once again, I will reiterate that Fox apparently didn’t have a clue.

 

Patrick Warburton

 

I wanted to see that grizzly f**ker. I wanted to see him flower. I wanted to see him blossom under the fact of love. I wanted to see where the sonnets came from. They came from the same pen of despair that wrote Timon of Athens— I wanted to see that guy. I wanted to see that guy with the sensibilities of a man that could create a body of work that would last century after century. I wanted to see that... I wanted to play that character. I loved the script. I mean, it was an incredibly well observed script about actors. That's why I thought it was so cool.

 

Russell Crowe

 

Painting and sculpture are very archaic forms. It’s the only thing left in our industrial society where an individual alone can make something with not just his own hands, but brains, imagination, heart maybe. It’s a very archaic form. Same things can be said with words, writing poetry, making sounds, music. It is a unique thing.. ..I think that the original revolutionary impulse behind the New York School, as I felt it anyway, and as I think my colleagues felt and the way we talked all the time, was a kind of a.. ..you felt as if you were driven into a corner against the wall, with no place to stand, just the place you occupied as if the act of painting was not making a picture.. ..it was as if you had to prove to yourself that truly the act of creation was still possible.. ..I felt as if I was talking to myself, having a dialectical monologue with myself to see if I could create.

 

Phillip Guston