Quotes of All Topics . Occasions . Authors
'Goldenheart' is like a modern-day Joan of Arc. Think of it like medieval times-cum-2045 or Lancelot and Guinevere in 3025. It's a new version of these battles - age-old stories for the now.
Dramatically, the moment in 'Gravity' that was hardest to nail down is when Ryan is in the Soyuz capsule and she realizes that she's out of fuel. That's when the character's arc gets defined.
I am a firm believer that the craziest stories that have been told and are being told are in anime. They have character arcs that go over, like, 400 episodes, like a 400-episode character arc.
What's great in theater is that you can sustain the arc of a character for a full three hours, whereas in film or TV, you have to create that arc in little pieces, and usually out of sequence.
'Macbeth' sags in act four - the England scene with Malcolm and Macduff just doesn't work theatrically. But with 'Hamlet,' although the play is so long, Shakespeare manages to sustain the arc.
The long arc of history that recounts the Catholic Church's embrace of people of all faiths and none in providing health, education, and welfare in society is as incontestable as it is impressive.
In front of us was not a line but a fortress position, twenty miles deep, entrenched and fortified, defended by masses of machine-gun posts and thousands of guns in a wide arc. No chance for cavalry!
By the time Joan of Arc was 16 and had proclaimed herself the virgin warrior sent by God to deliver France from her enemies, the English, she had been receiving the counsel of angels for three years.
The experience with 'The Knick' is a singular experience. That experience taught me a lot about acting and about being on camera for extended periods of time to try to create a character arc that travels.
I... was not too happy to suddenly take on this public role thrust upon me. They just assumed I was the Joan of Arc of the women's movement. And I wasn't at all. It put a lot of unnecessary pressure on me.
When you're telling a story, the best stories, every character has an arc. Every one. And that arc is usually about finding yourself, or about at least finding something about yourself that you didn't know.
I am on the International Board of Best Buddies, and I am also working with Special Olympics, and with The Arc to help people with disabilities become more independent and more included in their communities.
It turns out that the left temporal lobe, if there's a lesion there, will create hyper-religiosity. People become super-religious. They see demons and spirits everywhere. We think Joan of Arc may have had it.
I'm not a huge fan of scary movies, but I love doing them because your character arc gets condensed, and everything is elevated, and so you kind of have this amazing opportunity to go in many different places.
To me, great writing - and when you can really make something wonderful out of it as an actor - is when your character has a sense of self-awareness. It doesn't necessarily have to arc. It doesn't have to grow.
I like it when actors get an opportunity to chew into something. They love scenes with beginnings, middles, and ends - scenes that give an arc to their characters and allow audiences to get to know these people.
I ate supper after Dad saw the evening shift down the shaft, and I went to sleep to the ringing of a hammer on steel and the dry hiss of an arc welder at the little tipple machine shop during the hoot-owl shift.
I find historical figures in general very tricky because you feel at times that you're serving two masters. Not only the arc and wonderful writing that comes with the show, but also the history of a person's life.
I like the Hotel Costes, on rue Saint Honore, a boutique hotel near the Arc de Triomphe, the Louvre and the Tuileries. I love the dark, moody decor as well as the fantastic scented, candlelit pool in the basement.
With any project, but especially in television, I always try to look at where the character is starting from and where he's going to end up, and try to find the biggest arc that makes it the most exciting to play.
Joan of Arc was born 600 years ago. Six centuries is a long time to continue to mark the birth of a girl who, according to her family and friends, knew little more than spinning and watching over her father's flocks.
'The Real World' is the most predictable arc ever. They get on the show, they're all excited, we're gonna be best friends, then people start drinking and get hammered, and say stupid stuff, and that's pretty much it.
In a film you only get two hours to do this big arc and so you have to pick and choose your moments carefully, but with television you get to take your time and just take it episode by episode and discover new things.
No matter how much I plan the overall arc of the character, you get there day one on the film and you shooting certain scenes first, and it goes completely different to anything you ever thought of, and then it's done.
As I was researching, I was struck by how similar the Boxers were to Joan of Arc. Joan was basically a French Boxer. She was a poor teenager who wanted to do something about the foreign aggressors invading her homeland.
The voice for 'Surly' is, of course, very close to my own voice, but it's informed a lot by this story, by the arc and the animation and working with the whole creative team on 'The Nut Job' in finding what really works.
I grew up in a haunting postindustrial landscape where prehistoric ferns grew among tens of railway tracks surmounted by brilliant arc lights where birds nested and sang in the dead of night, because for them, it was day.
You're creating a score that has to have an emotional and story logic to it. You want a dramatic arc. You want all the songs to push story forward. That's the same whether it's for stage or film or television or whatever.
When I read a script or I see a character, I don't necessarily see the arc of her, that by the end she is this person, she's different from she was in the beginning. I guess it's more a subconscious understanding of that arc.
My first job was a commercial for a Swiss insurance company. It was an eight-minute short with a proper story arc, and it ended up getting a spot at Cannes Lions; I was lucky to avoid the commercials where you're their puppet.
Going into the second arc, I'm making a conscious effort to do something I say I never do, which is to change my style because of feedback. I'm trying to make 'Pretty Deadly' more accessible by being more clear in the writing.
There's what we call the 'critical path,' which is the main story line and all the missions that you have to do to complete the narrative arc of the game. Then there are side quests. They're not essential to completing the game.
I go to see some big shows of other bands, and I feel like I'm so bombarded and over-stimulated that I lose interest in the music. There has to be light and shade, and less stimulating moments. There has to be an arc to the show.
My early years were hardly a model of focus, discipline, and direction. No one who met me as a teenager could have imagined my going into research and making important discoveries. No one could have predicted the arc of my career.
It's one huge arc right until you're in your early 20s. You're always changing and always learning, but it's very much that chapter in your life: fall crazy in love, become extremely angry at little things. It's a tumultuous time.
Every film you're commissioned to write is all about an arc; usually, the arc is that the world creates a change in the character, usually for the better. To not have an arc, the messages and ideas in the film became more prominent.
I don't want to play the girlfriend who's there because she's the girlfriend. And. That's. Her. Job. I want to play women and girls who are active and strong and who have a character arc and make decisions and have a rich background.
I'd like to do the young cadet thing again for sure, but that's why I wanted to do this, to see if I could do it. I took the scenes out of the script and put them together and read them as one little arc, story and that seemed to work.
The joy of 'Crash' was that it was all about the work. It was my first real part. Before that, it was a line here and there, maybe a scene. 'Crash' was five scenes, a beautiful arc, a little vignette of my own. It really meant something.
Marriage fascinates me: how we negotiate its span, how we change within it, how it changes itself, and why some relationships survive and others do not. There isn't a single marriage that couldn't provide enough narrative arc for a novel.
Well, I don't know what Ron has in mind, but I do know about the arc of the show. Looking at how intuitive and instinctive Eddie and I play, that is the sort of thing that leads into sexual chemistry. I wouldn't be surprised if it emerged.
You look at most artists, the arc of their career, there's a definite decline at the end. And that decline could set in at any time. In your 50s, or your 60s and 70s if you're lucky. Time goes by fast, and you've got to be busy all the time.
A lot of the television industry is so cookie-cutter. In general, there are so many shows that are easy and bland to watch. You can tune in at any time and know exactly where you are in the story arc because it's pretty much the same every week.
When Joan D' Arc was asked by her judges why as a Christian she did not love the British, she answered that she did love them, but she loved British in their country. In the same way, we do not hate the Turks, we love them, but in their country.
'Breaking Bad' - when I started watching that show, I thought it was terrific. I love the way it was shot. I love the writing. I love the arc of Bryan Cranston's character. I just thought that was just really, really a wonderful, wonderful show.
Plotting is difficult for me, and always has been. I do that before I actually start writing, but I always do characters, and the arc of the story, first... You can't do anything without a story arc. Where is it going to begin, where will it end.
You always start a fight scene or an action scene with, 'What are we learning about this character at the moment, and how are we gonna arc him or her in the next three minutes,' and it's no different with 'Deadpool' or 'Atomic Blonde' or 'John Wick.'
I never think about the next movie. I always think about the situation I'm in now, but you do think about an arc someone can go. I love Johnny Depp, I love 'Pirates of the Caribbean,' but I never wanted to play the same character over and over again.
Hats off to Julian and Johnny, the producers, for sticking to their guns with the five-season story arc of 'Merlin'. It would have been too easy to give in to demand and stretch the show on beyond their original plan because of its incredible success.
As an actor, I had the most power than I've ever had before, because I was able to create and arc and pursue that idea fully, because as every new director that came on, no one knew 'Hanna' like I knew 'Hanna.' That is something that I knew inside me.