The most dramatic moves I have made as an actor have been from stage to screen and from sitcom to drama.
There are definitely times where I am listening to the radio, and I think, 'That would be awesome. I would love to sing that.' It's this weird karaoke fantasy that I might someday get to live out on the big screen.
It is really awkward to see myself on screen.
I have a real problem when people say, "Well I walked by and you should have seen what was on the computer screen." Well, don't look, sweetie. It's none of your business. Avert your eyes.
What's happened with computer technology is perfectly timed for someone with my set of skills. I tell stories with pictures. What I love about CGI is that if I can think it, it can be put on the screen.
Apparently on the screen I look tall, ageless, and damned close to omniscient-delivering jeopardy-laden warnings through gritted teeth. But when people see me on the street, they say 'by God, this kid is 5 foot 5, he's got a broken nose, and looks about as foreboding as a bank teller on a lunch break.'
The most difficult thing has definitely been movies. From a comedian's standpoint, you think being real big is the best thing, but with movies, the screen is huge, you're big anyway! Also, coming from a TV personality - MTV was all about high energy and selling the hottest video - I had to learn to [take it down]. A lot of characters I'm playing are not necessarily that kind of guy.
I love great locations in movies, and I couldn't believe I'd never seen a landfill on screen before. It was the most haunting place.
Any excuse to get away from the computer screen is welcome.
Films are subjective - what you like, what you don't like. But the thing for me that is absolutely unifying is the idea that every time I go to the cinema and pay my money and sit down and watch a film go up on-screen, I want to feel that the people who made that film think it's the best movie in the world, that they poured everything into it and they really love it. Whether or not I agree with what they've done, I want that effort there - I want that sincerity. And when you don't feel it, that's the only time I feel like I'm wasting my time at the movies.
To the extent that language forces experiences into categories it is a screen between reality and the human being. In a word, we pay for its benefits... Therefore, while using language, as we must of necessity, we should be aware of its shortcomings.
The mystical perception (which is only "mystical" if reality is limited to what can be measured by the intellect and senses) is remarkably consistent in all ages and all places. All phenomena are processes, connections, all is in flux...have the mind screens knocked away to see there is no real edge to anything, that in the endless interpenetration of the universe, a molecular flow, a cosmic energy shimmers in all stone and steel as well as flesh.
Many, many times I find that whatever is looking good on the screen doesn't always look or feel good on the body. So who do we design for - do we design for the screen, or do we design for women?
To cover the fact that a central bank is merely a cartel which has been legalized, its proponents had to lay down a thick smoke screen of technical jargon focusing always on how it would supposedly benefit commerce, the public, and the nation... there was not the slightest glimmer that underneath it all, was a master plan which was designed from top to bottom to serve private interests at the expense of the public... the system is merely a cartel with a government facade.
Progressive disclosure defers advanced or rarely used features to a secondary screen, making applications easier to learn and less error-prone.
In professional wrestling, I think that they want you to be bigger than life. It's almost like an over-acting type thing - whereas on the big screen, you're 35 feet and they've got a close-up of you to put it on the screen in the movie house. At 35 feet, it's more subtlety than the overboard drama that we do in pro wrestling.
Really good writing, from my perspective, runs a lot like a visual on the screen. You need to create that kind of detail and have credibility with the reader, so the reader knows that you were really there, that you really experienced it, that you know the details. That comes out of seeing.
As a viewer, that's work I respond to - work that I know is singular in some way. If I'm being challenged by something on screen, if I don't quite know why it's happening, I want to know I can do the work of pulling it apart and that there'll be something satisfactory about it. If the architecture is sound, you can be lyrical in execution.
...as there is no screen or ceiling between our heads and the infinite heavens, so is there no bar or wall in the soul where man, the effect, ceases, and God, the cause, begins. The walls are taken away. We lie open on one side to the deeps of spiritual nature, to the attributes of God. Justice we see and know, Love, Freedom, Power. These natures no man ever got above, but they tower over us, and most in the moment when our interests tempt us to wound them.
Liz Taylor was an amazing woman and screen legend. She was an incredible friend to my brother, at his side through some of his most difficult times and of course loved by his children and our family. She will live on in our hearts forever, my prayers go out to her family.
Screenwriting is always about what people say or do, whereas good writing is about a thought process or an abstract image or an internal monologue, none of which works on screen.
Surveying the way viruses have been discovered in the past, I came to the conclusion that I could use my technology that I developed as a graduate student - DNA microarray technology - to create a chip that would simultaneously screen for all viruses ever discovered, and furthermore have the built-in capability of discovering new viruses.
Something I've always known about the screen is that if it's anything in the world, it's literal. It's so literal that there's a whole lot you can't do because you're stuck with the literalness of the screen. The stage is not literal.
My experience over the years with working with people who are not actors or not trained actors is that you have to get to know them well enough to see what they have that's translatable onto the screen. So you're constantly calibrating to play to their strengths. And the key is to never ask them to do things that are beyond their abilities or are really far away from who they are at their core.
I always get a headache the first time I watch a movie I'm in. Because you're staring at the screen so hard, your brain is doing all this work trying to put things in context of what the day-to-day experience of making it was. And the timeline that's in your head of when it was made, and on what day, how you felt. And then you're also trying to grasp what it's been edited into.
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