It is trust in our vast 'don't know' that allows room for the truth, that allows the next intuition to float to the surface.
I'd love to be a mole on the wall in the Liverpool dressing room at half-time.
It's immoral to parent irresponsibly... And it doesn't help matters any when prime time tv, like "Murphy Brown", a character who is supposed to represent a successful career woman of today, mocks the importance of the father by bearing a child alone, and calling it just another "lifestyle choice." Marriage is probably the best anti-poverty program there is... Even though our cultural leaders in Hollywood, network TV, the national newspapers routinely jeer at [such values] I think most of us in this room know that some things are good, and other things are wrong.
I always felt caged, closed in, like I was punching at things that weren't there. I always had too much energy for the room I was in.
I argue with myself, get mad at myself, throw myself around the room and then apologize to myself.
I've done so many other projects where you're in a room with a reader and you're acting your lines out: 'We have to get out of here! Any minute the building will explode!' And then the reader says: "Yes...we have to get... out of here." So it's not easy to be in the moment in that kind of situation. Reading with the entire cast in the room for The Clone Wars makes the experience much more organic and I love that.
I believe that God is like a powerhouse, like where you keep electricity, like a power station. And that he's a supreme power, and that he's neither good not bad, left, right, black or white. He just is. And we tap that source of power and make of it what we will. Just as electricity can kill people in a chair, or you can light a room with it. I think God is.
I'm pretty good at indulging myself. I'm about to go travel for a week. I like to get massaged, go into steam rooms. I take care of myself.
If the semicolon is one of the neglected children in the family of punctuation marks these days, told to stay in its room and entertain itself, because mummy and daddy are busy, the apostrophe is the abused victim.
One helpful thing to keep in mind as a retort-stopper is that you won't "win," you won't change anyone's mind, you won't change any votes, you won't make the atmosphere in the room any better, YOU won't feel any better.
Preparing for another opponent isn't very glamorous. But it's Hollywood. You want to see the fun parts. The meeting rooms are not super fun.
I think that the reason that people are so up in arms about movies that have historical inaccuracies is because now that we've trashed our education institutions beyond repair, people fear that the only people are getting their histories is through the movies, so the elephant in the room is that no one wants to talk about why we're so passionately obsessed with accuracy.
Each year we go to the Cannes film festival and I tend to have all my friends pile in the back of my car and we'll drive from London. The poor production company think they're only putting me up and suddenly they've got eight people sleeping on my hotel room floor.
The worst part of directing is always seeing the first assembly. It's devastating. It really is. It's like going into the delivery room and you can't wait to see your baby, and it's a crocodile.
For me, I work very self-contained. It's literally just me sitting in a room doing it until the very end of the process when other musicians come in and instruments are recorded.
You want to go to a place where you work every day, where you get to tell stories that look and feel like the audience in America that are watching. You're really limited, if you walk into a room and you can just tell stories about that. So, we've been really blessed.
There's always room. That's what the directors usually want. They want the performer to bring themselves and give what they have to give for the role. The smart ones allow that to happen because then it becomes even more organic within the performer's imagination. It becomes even more real. It's not always a given in other films, but when Gunn works, and we all work together in a collaborative way like that, it becomes a given that you bring it. It becomes a lot of fun.
In wrestling, people just throw each other around, possibly actually bleed, and are still friends in the locker room afterwards. But there's a real glee - a feeling goes up in the arena, especially on non-TV days. If it's just people in a room and somebody starts to bleed, that's very exciting.
I would always drink purple drink - syrup. I would just be in a room, screwing and chopping up music. It was like an alter ego - I would turn into another person when I was on a substance. My music would get darker and weirder, and it inspired a lot of people. But I've changed my life and stopped smoking. I like to turn up and have fun when I get the chance, but I don't overdo it now.
I want actors. I want to be with other people. I don't wanna be alone, because of the connection when you're in a room, in a scene with someone, and it comes to life. You feel like the moment is something magic.
When I was about 17, I didn't speak. English was like a foreign language. I'd just grunt. The only time I talked was when I said my lines on set. I didn't speak to any of the actors or anything. Then one day Alison from the Corrie press office started talking to me in the green room and I just decided to talk back. She ran upstairs to tell everyone that she'd just had a 10-minute conversation with me like it was the most unbelievable thing in the world. I just woke up one day and thought, 'I'm going to talk today'. I've really made up for lost time since.
When somebody walks into a room they give off a certain kind of vibe or whatever and at that point that's how you're going to cast them.
I really loved the story. I originally read for Walt Longmire. He is obviously a very dynamic, strong, manly man that almost any dude would want to play. Once I got in the room and met with everybody, the feedback came back that they loved me, but that I didn't have the age. And then, they brought up the idea of Branch, who wasn't that interesting on the page in the pilot, but once they explained the vision, I really bought into it.
I never went to school for that. In high school we had photography, which was great. That was another moment of discovery. I had a great teacher - I can't even remember her name now. I ended up going to boarding school for my last high school years and they had a dark room there. Of course there was curfew; you were supposed to be in bed at a certain time. But I would sneak out and sneak into the dark room and work all night.
I absolutely loved it, and I loved the way the character of D'Artagnan had been portrayed. I was just well up for it. So, I went in and met (director) Toby [Haynes], and as soon as I got into that room, to see how excited everybody was to get this underway and onto the set, it just drew me to it, even more. It was an instant attraction, so I was delighted when I got the offer.
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