I think that the obsession with technique is a male thing. Boy's toys. They love playing... I would rather search for a new model or location.
When I'm writing in my bedroom, in a bar, at my kitchen table or wherever, I'm conjuring it all up on the page. That's all well and good, but it is going to be a limited perspective at that point and time. Occasionally, what I write might read really well initially, but then you change your mind while hunting for locations when you discover settings which offer even better opportunities for drama or dramatic staging.
I have an instinct for finding the odd location, the dismissed face, the eerie atmosphere, the oppressed mood.
Some places, because of their spiritual history, are noted to be locations where people will often experience an open heaven. In fact, there are places where the heavens are open more than in other places. Most of you are familiar with previous moves of God in places such as Toronto (The Toronto Blessing), the meetings in Pensacola, and Argentina, just to name a few. Just like in Jacob's day, today, there are certain places where heaven is open, geographical locations where you are more likely to have an encounter with God.
While his history of depression is compatible with suicide... and the location and direction of the stab wounds are consistent with self-infliction, several aspects of the circumstances (as they are known at this time) are atypical of suicide and raise the possibility of homicide.
No, my favorite scene was Brienne finding Arya and The Hound. I thought that the writing and the dialogue and the confusion that spirals into the fight was such a cool scene. I knew I was gonna film it in Iceland and I did a lot of - I really scouted and climbed around Iceland to find those locations and I just couldn't wait to do that.
Just as the value of a house lies in its location, The value of a mind lies in its depth, The value of giving lies in the presence of a generous spirit, The value of words lies in their reliability.
Places come to exist in our imaginations because of stories, and so do we. When we reach for a "sense of place," we posit an intimate relationship to a set of stories connected to a particular location, such as Hong Kong or the Grand Canyon or the bed where we were born, thinking of histories and the evolution of personalities in a local context. Having "a sense of self" means possessing a set of stories about who we are and with whom and why.
I prefer shooting on location, just because it always helps you. You go some place, you put your life on hold even more than when you've settled in some place. You can make a new life so it opens yourself up to the make-believe and the imagination in a way when you aren't burdened by things that remind you of your life all the time.
I never want movie theaters go away. It is the greatest time out on the town. You go out, it's a great place to go, great location, great hang, great date, good place to be with friends. But as an actor who works hard at making movies, I am glad that no matter what people can see your movie on. It's hard to keep a theater for long time; there are so many movies, so when you leave a theater, you're just glad there's a life for your movie.
The internet has opened the door for millions of businesses to do things differently, because there are other assets now, assets that can transcend location. Your permission to talk to customers, your reputation, your unique products-you can build a business around them online.
I see things in a specific way. All the films are different. There are specific characters and scenes and locations and ideas. There are colors I want to see. There are movements and things ... The films are different, but the approach is the same.
Directing, to me, starts even before we get to the set. Directing is a fluid, an abstract thing. It's not done only purely in the moment. It's an idea that you plant before. It's a location that you show. It's something I whisper in someone's ear. It's a freeform thing. It only takes me a week to write the script, but it's years that you're thinking about it. The execution is really the fast part.
I'm a music storyteller and collaborator. I hear character, location, and story as music. For me a score is there to both heighten the story and to actually tell the story with the unique emotional and narrative powers of music.
You can't anticipate in the room the riches of what you encounter when you're location hunting for a movie.
With the type of actor I am, which includes really diving into a role and making it as real as possible, there's nothing better than working in a real environment on location. It forces you to feel what the character's feeling, and it allows you to live in the space of the character.
I think Hollywood is more of a state of mind then a place. There are certainly iconic locations in L.A. but as far as the glitz and glamour of old Hollywood and the studio system, that's all but faded away.
You have to believe in yourself and always strive for the best. Whether that is getting the best actor, the most talented cinematographer, or the best location for your story, you have to have the hunger to want it and be willing to do what it takes to get it. A filmmaker should never be satisfied with their work. There should always be something that they want to improve on.
It's not the physical location of birth that defines citizenship, but whether your parents are citizens, and the express or implied consent to jurisdiction of the sovereign.
Based on technological research and the transformation of nature, industrialization constantly goes forward, giving proof of incessant creativity. While certain enterprises develop and are concentrated, others die or change their location. Thus new social problems are created: professional or regional unemployment, redeployment and mobility of persons, permanent adaptation of workers and disparity of conditions in the different branches of industry.
I'm a producer on my show, which is great, but it's also kind of a mixed blessing because there's so much responsibility. Everything is a decision. You have to worry about the money, you have to worry about daylight, who we're going to cast and if this location doesn't work out, what are we going to do?
It's a privilege to have the career I have, to love every day and be following my passion, the stories that interest me, to remote locations and people. So nothing stops me from that - but yes, it seems redundant in documentary-filmmaker circles today to say the biggest struggle was financing.
People are always asking me to do Shakespeare - at home, at colleges, on film locations, in restaurants. It's like playing a piece of music, getting all the notes. It's great therapy.
The characters are born from repetition, from repeatedly thinking about them. I have their outline in my head. I become the character and as the character I visit the locations of the story many, many times. Only after that I start drawing the character, but again I do it many, many times, over and over. And I only finish just before the deadline.
I always urge people to do something different, so for instance find something that you have secretly always wanted to try like dancing or boot camps or boxing, and Google search and put your zip code in and find a location- a class or trainer that teaches that in your area.
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