The world consists of images on a screen, and consciousness is the steady light that emanates from the projector.
If you think you can experience the power of the Internet on a 1-inch screen, you've got to be out of your mind.
My idea of a good picture is one that's in focus and of a famous person. People are only glamorous if you don't see them. Like the movies used to make people years ago. There is something about people on screen that makes them so special; when you see them in person, they are so different and the whole illusion is gone.
Real life is not as simple as it is on a screen. I think real life is actually a lot more beautiful.
My Irish Catholic mother loved romantic movies, provided they ended with a kiss before the screen went dark. If things went any further than that, she'd complain, Why can't they leave something to the imagination? I sort of subscribe to her philosophy when it comes to writing sex.
In film, you have to present everything on the screen so it's the opposite of what I usually do with storytelling. It forced me to think about how people walk, where they sit at that moment. With Princess of Nebraska, it was just fun to watch because the movie was so far from the story. It was very much a different story.
I don't even notice the advertisement that comes up on my screen. I'm a smart person and it's just something I've just blacked out because it doesn't seem right to me.
I don't want what you see on the screen to just be a brief notion of pleasure but something that lingers. The idea is to have the images revisited. I want it to be something that also enhances the soul. I want the moment of pleasure to produce an attachment.
They say you get nauseous in a green screen room, but I haven't yet. It's a little odd playing pretend with props and monitors that we're supposed to be watching, but I'll get used to it.
I always loved watching and reading family-friendly mysteries growing up, like the shows Murder, She Wrote and Nancy Drew, and am thrilled to be bringing these New York Times best-selling books right into your living room on the small screen.
By the time someone gave me some samples of standard screenplays I was already beyond that stuff, because I was not only a tinkerer in ways to do things, I'd started from Dylan Thomas. As a screen dramatist he was a very intense visualist, with great timing and fluency.
I never viewed screen drama as a vulgar form, or a lesser one, and I've never written it left-handed.
I don't think Roger Ebert has ever mentioned a screenplay. He assigns every auctorial move to the director, which makes some sense since the director has run a one-off game, but if Hamlet were written last year and had been only performed once as a film, and it didn't come off well on screen for whatever reason, it would be gone forever as a literary work, and never would have been considered as one.
I adore Susan Sarandon, she's just so cool, and brilliant, and beautiful. I just like her whole vibe - off- and on-screen.
It's funny because growing up, when Ali G first burst off the screen, it was something that I was probably too young to be watching, but I absolutely loved it.
You know, he [Alan Rickman] played these very reserved, sometimes-cold, sometimes-threatening characters on the screen, but the reality of the man was incredible warmth and humor and generosity and wicked fun.
I spent a lot of time [between takes] apologising to Peter Dinklage [Dance's on-screen son, Tyrion Lannister] because I treat him appallingly.
At first, I felt bad judging an entire state by one county political official, but then I found out Morrison had also helped screen public school textbooks, a topic which is another chapter in my book. The Alamo is managed by the Daughters of the Republic of Texas, a group whose members can claim a relative who was living in Texas during the revolution. The fight over mismanagement of the Alamo has been going on for years.
Very few people actually saw Andy's films like Chelsea Girls where he filmed seven hours, ran it on two screens, where each scene was in a different room at the Chelsea Hotel with these people he called 'Superstars" who were basically super-exhibitionists - the guy in one room high on LSD talking about masturbation, Brigid Berlin in another room playing a lesbian and shooting up people with amphetamines right through their jeans, it was all real and they were really doing it (though Brigid is now a proper lady), but you know Andy really did pre-date reality TV.
It's because you have no power. You give them all the material and the cinematographer, the director, the editor, boy what they can choose... You better hope they like you because they can slice and dice and make you look like a damn fool when your face and body are up there on a 30-foot screen.
I think it's very important that films like Bad Hurt don't get lost in the mix of the sci-fi-kill-everything-on-the-screen-blood-dripping-down-the-walls sort of the world of the cinema that we live in.
I've had so many people just come up to me and say, 'When you came up on the screen, everybody in the theater applauded.' It's just so sweet, really.
I mourn the loss of the gigantic screen, but I guess you can't have everything.
I think I'm open to adventures and surprises. As a performer, I'm really just naturally talented. And those roles may not look as good on paper, but I know how to create them on screen. I like to have fun and interpret my roles in my own way.
Well, what we do is we have a script, of course. But for us, writing is also like storyboarding. It's drawing. And so we will cut all of those drawings together with music, sound effects and dialogue. And we screen this kind of stick-figure version of the film.
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