One of the things that I intend to devote a lot of time to in the coming years is continuing to try to move people's hearts and minds with humor, with stories, with anecdotes, with facts and information.
I'm not afraid to move away from funny. I'm not afraid of that.
Comedy can't live within my second-guesses, so I started doing new material. Sometimes I bombed. But you have to be willing to if you want to move forward and stay vital. It's like people who take pride in not having a computer. I'm all, "Great, don't learn new things! Your brain is full!"
I started off in theater; I did exclusively theater for four or five years. In the last few years, television has come along but I can still make film. I feel very privileged that I can move between them.
I very rarely made any move to direct anything. I didn't have any faith in myself.
No matter which way I move you, that's a powerful thing to be able to do.
I think I'm realizing I've always been able to move people, just getting people to talk.
I had my neck hurt for like five years, I could barely move my neck from doing this stunt, I almost died twice doing stunts, it's really dangerous.
I really love it, I love working with directors that are very collaborative and allow me input. I've done over 75 films, it's just like you're an apprentice. You learn so much about camerawork, lenses, and I'm always talking about DPs and directors and they always give me lists. I think pretty soon, I'll be ready to move away from being in front of the camera.
Every day the Daniels [Kwan and Scheinert] would come up with some amazing solution and [make it easy] to put yourself in their hands. There's something really lovely about knowing you're working with directors who know exactly what they want and exactly what they're looking for, and they're not going to move on until they have it. That, as an actor, frees you up a lot because you can [try different approaches] and they'll only use what's appropriate.
The story [in 12 Years a Slave] serves as a metaphor for the fear of having your family taken away, and for being abused in such a horrific way. I lost it a lot of times watching that film, particularly when seeing the grace of the man when he finally makes it back home aged, changed, forever brutalized, and yet he apologizes to his family for his long absence. That was such a profoundly moving moment capturing the triumph of dignity over the disgraceful behavior of those involved in the slave trade.
The film festival is in a town in Arkansas, a quintessentially American town with a little town square. It's to champion women and diversity in all media, so TV, movies, eventually, digital, whatever you get into. That's the goal. We're using the same philosophy as my institute, which is to make it research-based and really try to work directly with filmmakers and content creators and move the needle. It's the only film festival in the world where the prizes are guaranteed distribution.
I didn't realize that I wasn't moving in a gender-equal world - I had a sense of it, but I didn't start to really see evidence of it, I think, until I hit puberty. Media even before that age is already creating all these biases.
I don't want to do 20 minutes on Donald Trump. I want to do 10 minutes and move on. I wouldn't even do that with a live show, because I don't want it to feel like "An Evening Of Political Comedy."
No one can beat Momma. She made me the person I am today. The way I think and act and move and talk and speak. It's all because of her.
The key to overcoming resistance to change is to frame your actions and continually adjust them as you move forward to so that those who might be affected by any changes see them as useful and beneficial for them. This isn't as hard as it sounds. You just have to be vigilant in paying attention to how you're influencing the lives of people who matter.
Sometimes, directors are afraid to stop shooting, because the second you stop and say, "We got it," and move on, you'll never get another chance. And they're terrified to get in the cutting room and not be happy. So they just keep shooting.
Ultimately, a more experienced director realizes that you've got to stop sometime and just move on. They're braver about that.
I'm always moving forward and trying new things.
Basketball. I love it. I can't believe these giants move like kids. They are so flexible.
I'm usually slow to move in these sorts of things [like primary election process ] because I need to know as much data as I possibly can. And then also, I think you know watching the DNC, several people said it's really not about one person and it's certainly not about once cause or one issue that needs to be tackled. It's the culmination of many thoughts, many ideas, but also power that needs to be combined and the efforts need to be combined.
As the world transforms, moves closer together, jobs are displaced, and the world of work completely changes the way we live, the way we think. As that revolution goes on around us, it is going to pose political challenges of which immigration is one very obvious one, which are going to be extremely difficult to deal with. But it's like free trade. You know, in the end, if we go protectionist, we'll make a mistake.
Accept your failure, move on, and don't torture yourself.
That daydreaming seemed important at the time, but when I asked my teacher Katagiri Roshi about it, he said, "Oh, it's just laziness. Get to work." But as for discipline, I don't even use that word. I think more about passion or love. What I've really learned is the way the mind moves, and how the mind works. Rather than discipline, I know how to seduce my mind.
I'm very much still connected to the way that I've always been perceived. And it happens. I'm not trying to play up anything, it is true. I've walked by numerous cars where they've locked the doors, I get into an elevator and someone moves out of the way. I've been to a place where some people think their children shouldn't play with my children. And that breaks my heart.
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