I wanted to make room for antiheroes.
It is not enough just to open the door to the rooms of power. We have to get inside and rearrange the furniture!
A circus! 100 clowns of injustice have climbed out of the tiny clown car of this court room.
I can find no room in my cosmos for a deity save as a waste product of human weakness, the excrement of the imagination.
The beautiful disease and The government falls along the weed rooms flesh along the weed government.
Thoughts exchanged by one and another are not the same in one room as in another.
Writing a short story is a little like walking into a dark room, finding a light and turning it on. The light is the end of the story.
I grew up with classical music blasting in my parents' living room and my older brother's practicing saxophone in his room listening to jazz... a beautiful chaos.
Beware of advice. Consider your sources carefully. Look them up. See if you respect what they've made. Get educated. Be informed about who's real and who isn't. Study your craft and your industry, practice all the time, challenge yourself - write things you think you can't, try things you have been told you shouldn't try - leave room for surprises, and learn how to collaborate.
If you are referring to the characters of The Room, each character has a different personality which you can see very clearly on the screen. If you are referring to the actors, they give me different emotions, personality which represents human behavior.
One of the things you have to understand with The Room, I never approached a studio to produce, because I know no one in Hollywood will produce this. I came to Hollywood and I said "I will produce this movie the way I want it."
So the real drama for me is balancing live performances and writing, and one of the ways I balance it is I write in hotel rooms. That's not exactly balancing. Actually, writing in hotel rooms means that I'm refusing to deal with the problem.
I have to say that The Simpsons comes from a huge number of great writers headed by Al Jean, the show-runner, and the work that they do is really fantastic. It's a blast just to sit around with them in the writers' room and listen to all the filthy jokes that will never get on the air.
When you are in the prayer room you forget about the outside world and fall into a Christian rock coma, and nothing else seems to matter.
If you have nothing to hide, if you're actually working for eight hours, or 10 or 12 hours, however long people decide to work, it's OK to have windows around conference rooms, it's OK to have cubicles. Because you're actually working. If you're not working, doing social media and spending half the day for personal stuff, then an environment like this will actually bother you.
This is what makes science so hard, and ultimately so fun. Think of the limits of what we know as a great suite of rooms inhabited by vast numbers of incredibly busy, incredibly messy, nearsighted people, all of whom are eccentric recluses.
There can be no divided allegiance here. Any man who says he is an American, but something else also, isn't an American at all. We have room for but one flag, the American flag...We have room for but one language here, and that is the English language...and we have room for but one sole loyalty and that is a loyalty to the American people.
Well, I think there was a time when I first started that there was such a thing called 'a woman's film' and there were certain scripts that women would make. But I think that's changed a lot now. I think that if a woman director walks into a room with a script, it doesn't really matter what the subject matter is, or the genre is, so long as the financiers feel that the woman has the skills to make the film.
We have oral traditions in Mali, and songs are passed down and around this way. I think in the US you can play all the time in your own room and never see another musician your whole life. We can't understand that in Mali.
I have a very strong sense of architecture in my novels. But at first it's sometimes like building a doorknob before you have a door, and a door before you have a room.
The images are visual, auditory, olfactory, kinesthetic. They aren't laid down on the same tracks as thought. And sometimes, when they return to you, it is as if you feel them for the very first time. Memory lives on in the details, like the color of a room, a tone of a voice, the touch of a child, the smell of a man.
I will personally never ever get over the communal experience of theatrical cinema. I will never get over the scale of a big screen in relation to your small body, big sounds in a big room with a bunch of other people.
I'm completely surrounded, not only my father, but also my three brothers, and Sergio, my husband, all four of them work in film. Some are writers, or directors, or cinematographers, all of them. I'm surrounded by men that make films, so much that at some point I felt there was no more room in the family for another filmmaker.For many years I was only working as novelist or writing screenplays for others to direct.
As a young filmmaker, I shot a lot of stuff because I wanted to make sure that I got everything, but now I've gotten much more precise with my shooting. Editing is a whole other layer because then, sometimes you realize characters don't even need to say this or that. It becomes an issue of exposition, and over-explaining something. In the script, I'd reinforce certain things about what I wanted people to know two or three times, but in the editing room, I'd be like, "I only need to say this once, maybe twice."
Don't get me wrong. I like Disney World. The rest rooms are clean enough for neurosurgery, and the employees say things like "Howdy, folks!" and actually seem to mean it. You wonder: Where do they get these people? My guess: 1952. I think old Walt realized, way back then, that there would eventually be a shortage of cheerful people, so he put all the residents of south western Nebraska into a giant freezer with a huge picture of Jiminy Cricket on the outside, and the corporation has been thawing them out as needed ever since.
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