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.
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."
I think for a lot of artists, if you're lucky enough to have a kind of career, especially toward the end, you start to think about what the whole ensemble looks like. It's the whole that counts. The parts are given, but you don't know how the whole thing's going to look when it's all put together.
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.
When I was really young, I was reluctant to be perceived as bossy, and I thought that working with an ensemble was about generating a consensus all the time. Later on, I realized that it's actually generous to know what you want and to tell people what you want - actors, crew, everyone.
I've always been attracted to ensembles. When I started doing plays in high school and in college, I always loved the community aspect of it. I loved these little families that would develop.
Modernity is the ensemble of changes - intellectual, political, economic, social, cultural, technological, aesthetic - that have altered the world drastically since roughly the 17th century, until which time the world was, in the above respects, far less different from the world of any previous epoch of recorded history than it is from the world of today. The modern predicament is the set of problems these changes have bequeathed us.
My job apart from anything else is to build an ensemble composed of actors who all come from a secure place so that they can all work together to make the film.
Even though I started playing the violin when I was four, my early chamber music experiences helped build a strong foundation for my solo work, as all music is a rich language and dialogue that is shared on stage, no matter what the size of the ensemble.
'Jazz Artist of the Century' would have to be a distinctive soloist and ensemble player, a composer, an arranger, a bandleader, and a driver; would have to span all the genres and periods of jazz; would have to have run her own label; [would] possess a deep spirituality, with grace and a sense of humor; and would have to have succeeded against all odds. Who else? Mary Lou Williams.
Without doubt, the foremost band for decades has been the One O'Clock Lab Band at the University of North Texas. Through its many incarnations and under various leaders, they have demonstrated the highest qualities of musicianship imaginable, plus a willingness to balance their big band tradition with creative exploration. Astounding ensemble work, insightful interpretations of the arrangements, imaginative writing, and above all, a loving attention to musicality . . . these people play beautifully.
I'm an actor first and foremost. My producing credentials are just to say, "Yeah, I love this story and now let's bring the people, the ensemble together," and I get out of the way. I have no desire to check on schedules and shooting schedules and money and stuff like that.
I prefer, and it turns out to be the truth, that I always have in my movies an ensemble of actors, but not just one individual doing the whole movie.
It was very much about performances, the whole ensemble thing was just great - everybody working together. Sometimes it didn't feel like a film set. It wasn't technically driven, it was very, very enjoyable
It's very hard to find a good comedy. I prefer doing comedy far over anything else because I think they're actually more profound. But finding a good one and a great ensemble is very difficult to do and I'm delighted that in these particular times there is so much interest in comedy and that comedy is having so much success.
Whether a listener absorbs this music or rebels against it is at least partly a matter of how the performers put it across. It would be hard to imagine an ensemble playing it with greater virtuosity than the JACK Quartet, which seemed not merely earnest but also completely comfortable with, and passionate about, the strange sound worlds at hand.
The most important part of filmmaking is the collaboration and the ensemble element of it. If you just all focus on the task and the work and try and make the best film that you can then people will come.
Aimer, ce n'est point nous regarder l'un l'autre, mais regarder ensemble dans la meme direction. English Translation: To love is not to look at each other, But to look together in the same direction.
With a role like Hedda Gabler, which is incredibly complicated, you often feel that you haven't even scratched the surface the first time around, so you relish the opportunity to do it again, particularly with an ensemble of actors and the company we assembled. But when you do that in films you somehow have to make some attempt to uncross people's arms and you have to justify why you're doing it.
The great thing about space films generally, with the exception of Apollo 13, is that big stars tend not to work in space and I think that's because space is an equaliser. It makes everyone the same really and suits an ensemble cast and actors who are prepared to work with each other.
When you go and you tell a studio and that it's an ensemble, that doesn't mean a lot to them. But, my hats off to Paramount and Warner Brothers, because when we told them that these were the kinds of people that we want to get, across the board, they were unbelieveably enthusiastic about it.
Saturday mornings in spring should always start with a jolt of dance by Paul Taylor performed by Taylor 2. The touring ensemble, an adjunct of the Paul Taylor Dance Company, offered a rare New York performance... It was an impressive event, presented by a group of highly individualistic dancers.
Picture-taking is an ensemble art-like theater.
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