"I feel like a nuclear missile. Point me in that direction, I'll go"
About this Quote
A nuclear missile is a chilling metaphor for certainty: once launched, it doesn’t negotiate, improvise, or come back with notes. When George Dzundza says, "Point me in that direction, I'll go", he’s not bragging about being explosive so much as advertising himself as pure follow-through. It’s the actor’s version of a stuntman’s creed: give me the mark, give me the target, and don’t worry about the rest. The punch is how the line fuses professional discipline with apocalyptic imagery, turning the work ethic into something almost frighteningly inhuman.
The subtext is obedience sharpened into power. A missile doesn’t choose its mission; it’s chosen. That’s a sly, maybe self-protective framing for an actor whose job often depends on being cast, directed, edited, and ultimately controlled by other people’s visions. Dzundza’s phrasing suggests relief in that surrender: remove the ambiguity, and he becomes unstoppable. It’s also a hard-edged joke about temperament. Actors are stereotyped as needy or precious; he counters with a persona of ruthless utility, the guy you hire when you want results, not fragility.
Context matters: Dzundza came up in an era when performers often sold themselves as reliable craftsmen amid the chaos of sets, egos, and last-minute rewrites. The nuclear reference carries Cold War muscle memory, too: a reminder that "commitment" can be admirable and terrifying, depending on who’s doing the pointing.
The subtext is obedience sharpened into power. A missile doesn’t choose its mission; it’s chosen. That’s a sly, maybe self-protective framing for an actor whose job often depends on being cast, directed, edited, and ultimately controlled by other people’s visions. Dzundza’s phrasing suggests relief in that surrender: remove the ambiguity, and he becomes unstoppable. It’s also a hard-edged joke about temperament. Actors are stereotyped as needy or precious; he counters with a persona of ruthless utility, the guy you hire when you want results, not fragility.
Context matters: Dzundza came up in an era when performers often sold themselves as reliable craftsmen amid the chaos of sets, egos, and last-minute rewrites. The nuclear reference carries Cold War muscle memory, too: a reminder that "commitment" can be admirable and terrifying, depending on who’s doing the pointing.
Quote Details
| Topic | Motivational |
|---|---|
| Source | Help us find the source |
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