A good adaptation of your book is worth it because it is such a wonderful experience to see your world translated onto the screen.
It's always good I think in general to have different energies on screen, like it's nice to have different characters go at different speeds, just like different people work at different speeds.
AT&T is now offering a new service that allows you to pay your bills through your TV screen by using your remote control. So instead of saying, "The check's in the mail," people are going to say, "Hey, I wanted to pay, but I couldn't find the remote."
When I'm writing it's as if I'm the observer. It's as if that computer screen there -it used to be the typewriter - just kind of dissolves and there's this whirling tunnel of mist and there's a kind of proscenium arch, and then there are my characters, and they say what they say, and I laugh sometimes in surprise at what they say.
Kids absolutely not reading. I think it's because they're so screen-oriented [TVs, computers, smartphones]. They do read - girls in particular read a lot. They have a tendency to go toward the paranormal, romances, Twilight and stuff like that. And then it starts to taper off because other things take precedence, like the Kardashian sisters.
I directed 24's pilot. I felt we should follow the characters around as if we were a documentary crew, using available light, hand-held cameras, split screens, sound that isn't always what it should be, to suit the reality of the premise.
I find that screen kissing wears very thin very quickly.
The souls you have got cast upon the screen of publicity appear like the horrid and writhing creatures enlarged from the insect world, and revealed to us by the cinematograph.
I do not feel any artist can produce great art without putting great personality into it. It is always a piece of you that goes on the screen or the canvass.
Tony, Stacy and Jay really looked at life completely different and that played into everything that they did, whether it was skating or with their friendships. And for the three of us, we had such a close relationship off screen, that it was so easy to have that on screen.
A lot of very, very big stars were going down and not being seen or heard from again. Kirk took a huge chance in putting a blacklisted writer's name on the screen and somehow or other, he survived it, like he survives everything.
Consciousness is much more of the implicate order than is matter... Yet at a deeper level [matter and consciousness] are actually inseparable and interwoven, just as in the computer game the player and the screen are united by participation.
2001: A Space Odyssey was a wonderful conundrum when I was a boy, with its giant concepts thrown across the giant screen at Indian Hills Theater. That movie woke me up in ways that I hadn't imagined, and I went searching for book versions of the same drug.
Being in love is such a nice feeling,and to be able to see that feeling on-screen is just nice, especially when it's a great story.
I don't think it's very difficult to bring a virginal, angst-ridden, hip-hop grunting white boy to the screen. Not that I have any experience with that. I don't know man. I understood where his head was at, because he was this 18-year-old cat that thought he was a man, but didn't really know what it meant to be a man.
Sam Fuller and 'Shock Corridor' can only be conjured as a mantra. 'Shock Corridor' is a classic work of art - it's unique. It comes from the unique experience of being Sam Fuller and yes, there's always that element of 'Shock Corridor' hovering around the picture, but never specifically. In fact, I didn't even screen it because it's in us. It's in me anyway. It's in me. It was a way of conjuring up support just by saying the name, 'Shock Corridor,' as I was going to shoot. Poor Sam [Fuller]...
If you're trying to be realistic and bring real life to the screen, you are going to have different elements. That's what I'm trying to do. As I make the movie, different elements come in naturally.
Sometimes I don't want to go out and socialize; I just want to watch my favorite shows and comedians. But then I have to remember that it is important to participate in life if you want to portray real life on screen.
I have never seen any of my work, I can't watch it because I am ultra critical. We all have little mannerisms that people may love about us, but can be embarrassing. Perhaps we got teased about them as kids and we may not like them ourselves. That is what it is like for me, I can't look at myself on screen even if the audience loves what I am doing.
I love digital, but the only problem is less intimacy. People look at the screen right away. Before, nobody saw the picture before you saw the final picture. There was more privacy in a way.
While green-screen work, find a way to stay true to whatever it is that it takes to act a scene out, and make sure that you use your imagination as best as you possibly can, still stay loose, and still allow yourself the liberty of doing what you need to do as an actor, and then work within the confines of what is actually possible.
If the audience gets everything, if they see the photography and notice that it is good, then the story goes out the window, but if you become involved with the lives of the actors and forget that you are seeing mechanical devices on a huge screen - forget the make-believe - this is the job of the director to involve the audience with the actors.
Working with green screen, you really rely on the director in a way that you don't on different types of films.
I drink tea pretty much continuously at a rate of around 1 imperial pint/hour, which sort of enforces screen/keyboard breaks.
I think that when a person is insecure about who they are or who they want to be, then it translates on screen, and the choices they make are all about perception.
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