I got so lucky on my 'Red Widow' cast. It was just the universe looking out for me that I got those actors. It's a big ensemble cast, a very international cast. I don't know how that happened.
All that was neither a city, nor a church, nor a river, nor color, nor light, nor shadow: it was reverie. For a long time, I remained motionless, letting myself be penetrated gently by this unspeakable ensemble, by the serenity of the sky and the melancholy of the moment. I do not know what was going on in my mind, and I could not express it; it was one of those ineffable moments when one feels something in himself which is going to sleep and something which is awakening.
It is tough, every time. The ensemble is great. I would always ask Andrew, "Is this how Hollywood is? Is this how every TV show and movie is?" And he was like, "No, dude. This is not. Do not get used to this. Be thankful that this is how your first gig is."
If there is a lesson in our story it is that the manipulation, according to strictly self-consistent rules, of a set of symbols representing one single aspect of the phenomena may produce correct, verifiable predictions, and yet completely ignore all other aspects whose ensemble constitutes reality.
If you're playing live, I like to think of the ensemble, whether it's the duet or a forty piece orchestra, as one person. And the entire audience, whether it's twelve people or twelve thousand at Madison Square Garden, is the other person. The two of you are going to dance together tonight.
First, if it is true that a spatial order organizes an ensemble of possibilities (e.g., by a place in which one can move) and interdictions (e.g., by a wall that prevents one from going further), than the walked actualizes some of these possibilities. In that way, he makes them exist as well as emerge. But he also moves them about and he invents others, since the crossing, drifting away, or improvisation of walking privilege, transform, or abandon spatial elements.
The talent of historians lies in their creating a true ensemble out of facts which are but half true.
The fact is that the beautiful, humanly speaking, is merely form considered in its simplest aspect, in its most perfect symmetry, in its most entire harmony with our make-up. Thus the ensemble that it offers us is always complete, but restricted like ourselves. What we call the ugly, on the contrary, is a detail of a great whole which eludes us, and which is in harmony, not with man but with all creation. That is why it constantly presents itself to us in new but incomplete aspects.
We all know from growing up with TV that John Wells shows are usually very large ensembles with amazingly written characters. He tends to redefine the way stories are told in a specific genre, whether it's 'China Beach,' 'The West Wing,' or 'E.R.
'Desperate Housewives' is an ensemble cast, where I played a tertiary character. I made a lot of great friends, but that show didn't keep me very busy.
I just want to be a part of great stories, whether I'm part of an amazing ensemble cast or I'm leading it or the antagonist or whatever.
When I was doing ensemble theater and comedy work, I felt I had some talents. But when I started doing my shows in Berkeley and found that I could be funny on my own, I was shocked.
I tend to favour films that have multiple plot and story lines, multiple characters and ensemble pieces.
Always make sure your jewelry isn't taking over you or your ensemble and keep everything in proportion to your frame
I've never directed before, so I need to make sure that people know that I can. The movie that I've written, 'The Sophisticates,' is a... small ensemble comedy and I hope it's charming and funny.
All conventional wisdom has an element of truth to it, but good design requires more than an element of truth - it requires an ensemble of correct assumptions and valid calculations.
Interest and proficiency in almost any one activity-swimming, boating, fishing, skiing, skating-breed interest in many more. Once someone discovers the delight of mastering one skill, however slightly, he is likely to try out not just one more, but a whole ensemble.
If you are in an improv jazz ensemble or a small chamber group, you learn to think fast on your feet and how to be flexible and to collaborate and compromise, and that may yield a creative outcome.
When you're on an ensemble show and you're messing around with everybody every day and you're not in every scene, and then all of a sudden you're in every scene, it's rough.
In spite of my great admiration for individual splendid talents I do not accept the star system. Collective creative effort is the root of our kind of art. That requires ensemble acting and whoever mars that ensemble is committing a crime not only against his comrades but also against the very art of which he is the servant.
I've always preferred Marvel over DC. I just relate to their characters better. I mean look at Wolverine, at first he was just a bit player in an ensemble cast. Now he's the only reason people read X-Men. Just like me and Scrubs.
No rock and roll ensemble, however inspired, can deliver the kind of musical variety obtainable with the resources of 110 instruments.
Writers, actors, anybody working on an ensemble-type thing, there are going to be some creaks in the beginning. It seems like there's tremendous potential in just letting things sort of breathe a little bit. It's tremendously important.
I don't have any tattoos - I live vicariously through my sister, Langley, who has many. If I can't stick to one ensemble, I don't think I could stick to one tattoo.
The thought of the novelist lies not in the remarks of his characters or even in their introspection but in the plight he has invented for his characters - in the juxtaposition of those characters and in the lifelike ramifications of the ensemble they make: their density, their substantiality, their lived existence actualized in all its nuanced particulars, is in fact his thought metabolized.
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