[I and Don Knotts never have a romantic relationship off screen].We were just good friends, and would go out to dinner sometimes when we both lived in Los Angeles. People always asked me if we were involved, but I always said, "No! He's a married man!".
On screen, Gene Wilder could often be summed up as an accident waiting to happen, that frizzy, flyaway hair, the eyes darting this way and that and then something would set him off, Zero Mostel, say, in the movie that made Wilder a star, "The Producers."
It's every actor's dream to be seen on the big screen. Having said that, it's also imperative to better yourself as an actor all the time. In that, all mediums become important in their own ways.
Casablanca is back on the big screen in a new print and looks and sounds better as time goes by. It is the product of numerous accidents, all of them happy, and I laugh, cry and have my better instincts appealed to whenever I see it.
You can't spend your whole life in front of a screen.
People love real human chemistries and if you can put it on the screen you are going to get people's hearts; you're going to go straight to them. That's one of the secrets of life.
If you've been paying attention to politics for the last, you know, 30 years, it would not have shocked you, but what was amazing was that there it was, you know, in irrefutable colors, you know, there on paper, or there on your computer screen.
Hillary Clinton doesn't command the screen. She doesn't look intimidating, inviting, engaging.
The more films we make the more we get to deal with those pre-existing relationships. But when it comes to a movie like Ant-Man or Guardians or certainly Doctor Strange, it's just bringing to life stuff that's already been there in the comics and we finally get a chance to do it on the big screen.
It's not that I'm using my life to put on screen or in my acting, it's that, when you're living in the world, you're exposed to stories, to people, to things that feel foreign and unfamiliar. And I'm curious about those things, me personally.
I kept saying to myself, this is a calling that God has given me. And so with intention I said, "Okay I'm going to write books not only for the Christian community, but also for the secular community." I found it really rewarding because the last one to use my gifts and advantages to people who look at church as not on their radar screen at all, it gives me favor with - I do a lot with Fortune 500 companies now.
I knew that Jaye Davidson would not last because of that. I really liked him and thought he had incredible screen presence and talent, but I knew that he would not stay in that profession.
The gaslight of the film [The Girl On The Train] became something that really needed to be dramatized more than the book did, because it wasn't going to read as strongly on screen.
The challenge and the goal was to get inside Owen's [Suskind] world, because I really wanted to see it through his point of view. To achieve that naturalism, I used a screen in front of a camera as I interviewed him
I mean I think people prepared me for like a lot of green screen [in Oz the Great]. I didn't have a lot of green screen. They build most sets. When this castle was tangible, Emerald City was tangible, the forest, the woods was tangible, the cemetery, everything was there.
The film [Aquarius" ] is very, very successful. We had the highest per-screen average of last week's releases.
What still amuses me a bit is that in F1 people see the race basically on TV screens. But I am sure new tracks will be built.
I have to match wits with the ads. Like, there's pop-ups that, like, move around and you have to chase them like it was a video game or something. And then there's ads where, like, you know, the X to, like, close the ad screen is so kind of small that you can't find it and you have to actually go looking for it. And so I spend all my energy - instead of, like, absorbing what the advertiser wants to communicate to me, I spend my energy trying to figure out how to defeat the ad.
We're on the computers, phones and tablets all day long, sometimes you just need to escape from the screens.
The pedagogy of authoritarianism is alive and well in the United States, and its repression of public memory takes place not only through the screen culture and institutional apparatuses of conformity, but is also reproduced through a culture of fear and a carceral state that imprisons more people than any other country in the world.
There are plenty of characters of color in fantasy and science fiction. But when you ask the question, "How many of them on-screen have rich, thought-out backgrounds and family elements to draw on?," you quickly find out that the answer is not very many.
I had an audition process that went on for a long time, and I got to spend a lot of time with the guys who are directing the film. Getting to be around them and being around the world a little bit has been the main experience so far. I did my audition on the Millennium Falcon for one of my screen tests, which was pretty cool.
It was pretty fun [auditioning on the Millennium Falcon], because I enjoyed the material a lot. Last year I read for the directors, then came to England and did a test on the Falcon, then came back and did a couple more screen tests in Los Angeles.
Yes, there may be some convergence to what you see on a screen that's different from the way you will experience a magazine in your hand, but there are lots of ways you can signal differences. Where native advertising and these other things get tricky is when the consumer can't tell the difference between edit and advertising.
[Glenn] Thrush's emails to [Hillary] Clinton campaign chairman John Podesta were splashed across screens in newspapers nationwide. Thrush was criticized for sharing a half dozen paragraphs of a draft of a story for Podesta to rebut. Some reporters do just that. Other newsrooms have policies discouraging or forbidding it. Thrush says he does the same for Republicans.
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