I thought that, with so much current attention focused on the topic of North Korea, I might share what I think are three books which cast a rare light on the elusive realm of North Korea.
The death of dictator Kim Jong-Il has cast all eyes on North Korea, a country without literature or freedom or truth.
Sense is our helmet, wit is but the plume; The plume exposes, 'tis our helmet saves. Sense is the diamond, weighty, solid, sound; When cut by wit, it casts a brighter beam; Yet, wit apart, it is a diamond still.
God of deep waters and infinite riches, challenge me to go where I fear, to do what is difficult and what I thought could never be done. Push me to go to the deep waters of life and cast my net wide, for I put all my hope, trust and faith in you.
Assurance grows by repeated conflict, by our repeated experimental proof of the Lord's power and goodness to save; when we have been brought very low and helped, sorely wounded and healed, cast down and raised again, have given up all hope, and been suddenly snatched from danger, and placed in safety; and when these things have been repeated to us and in us a thousand times over, we begin to learn to trust simply to the word and power of God, beyond and against appearances: and this trust, when habitual and strong, bears the name of assurance; for even assurance has degrees.
. . . had I a river I would gladly let all honest anglers that use the fly cast line in it, but, but where there is no protection, then nets, poison, dynamite, slaughter of fingerlings, and unholy baits devastate the fish, so that 'free fishing' spells no fishing at all.
Around the steel no tortur'd worm shall twine, No blood of living insect stain my line; Let me, less cruel, cast the feather'd hook, With pliant rod athwart the pebbled brook, Silent along the mazy margin stray, And with the fur-wrought fly delude the prey.
My own sense of the world is that very little is absolute or black and white or easily understood. I suppose in all my writing I'm trying to cast the reader into this spiritually ambivalent dream world, which hopefully mirrors more honestly the complex reality we find ourselves in.
I'm tempted to say that the top three reasons for hopelessness are rejection, rejection, rejection. But let's cast our net wider. 1) Not being able to write as well as we hoped we could. 2) Not being able to write at all. 3) Rejection.
I never knew that when you're number one on the call sheet you have not only the responsibility of carrying the film but also the responsibility of keeping up the morale of the crew and cast.
The beauty of when you watch good television or films is that, yes, you may have a multi-cultural cast but those roles could be anybody - they could be white, they could be black. To show the world that we have more in common than we have different with each other is to me the ultimate goal of all of that. It does help unite in people's mind the thought that people are the same. Yes, there's going to be cultural differences, but for the most part, we are all in the same gang as human beings.
That's the one thing I say about the great British shows. You know, I see it on the series on HBO where the season is shortened to like 12 or 6 or whatever it is. You know there's a reason why there's a quality behind that. Because I think the writers as well as the crew and the cast do get burnt out after doing continuous episodes after and over and it feels like a factory rather than something of a creative process. And we get tapped out. That's just my opinion.
There was a lot of expectations and pressure on the first one, because the fanbase is pretty big, when we were shooting the movie. I think the whole cast was aware of the responsibility we had to tell Stephanie's (Meyer) story, to try to get it right and take our work seriously.
They were made up names in Dune that I didn't know how to pronounce, but I knew how I should sound because I was a sci-fi fan myself. I hadn't read the book, but I knew that I was the princess of the universe. I went in and sort of made her up, and David Lynch thought it matched and cast me.
I went to do Eclipse right after The Runaways, and I think the director of that movie might have said to another cast member that he had to beat the Joan Jett out of me.
I think there's a lack of quality roles for women in comedies. Most actresses get cast as the "eye-roller" or "the serious one," while men in comedies get to do all the fun, silly stuff and muck around. Sometimes you just have to search hard for a role or create one for yourself.
I seem to have been cast several several times to do it. I think in this one, Phoenix is not purely evil. She was in the comic books at some point but the way the writers created her or we always talked about her, was that she was torn with her powers taking over and trying to control them at the same time. It was challenging to play which made it interesting for me to play this character.
I believe you can never stop growing and learning and I've been very fortunate to have been working since I was 10 or 11-years-old. I have learned so much throughout the years working with amazing directors and great actors as well. This was really a huge step for me because it's very different from anything that I've done before but I think the biggest difference here is that the cast we were surrounded by in this movie was unbelievable.
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.
You should just write the movie based on people you actually know and then just see who wants to play it. Cast the net.
It's hard to not get typed in Hollywood. They really want to type you. I'm trying to avoid that, because I want to do a lot of things. I know what I'm capable of. I forgive them because they don't know. They haven't seen me play Hamlet. They're not going to cast me as an English aristocrat. I'm going to have to prove that on my own. That's okay. That's what you have to fight for if you want to be an artist.
Studios might cast an actor because he is too tall next to the leading lady, who is too short, or they might not cast your guy because he's blond, and they wanted a brunette. There's all kinds of reasons why they want one person over another. I don't worry about it, but it can hurt sometimes if you really wanted something, if you really went after something.
When I'm writing novels, even screenplays, it's never an actor I have in mind; it's always the version in my head of who the character is. Once somebody gets cast, I have to adjust a little bit to who they are.
We start with people who are motivated to get paid and be on TV, and we end up with people who have been transformed by the experience and go on to embrace sobriety. If they relapse, like most of my patients do, we continue to support and treat them. I'm thrilled that five out the eight [Celebrity Rehab cast members] showed up for after-care, and two more committed to coming back.
No matter what the level of funding or success may be, there's always money missing, and you still want to have a gorgeous image, an endless cast and a flawless rendering.
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