Quotes of All Topics . Occasions . Authors
People feel they can just pass judgement with a tweet or with a comment and then you're supposed to change your life for them. I can't worry about what some phantom individual online has to say about me.
People ask me how I sang the role of the 'Phantom' 1,700 times. And I say that it's down to good material. If it did not have good material, I would have had a major problem doing it for that length of time.
I started singing for The Phantom in January, and we started filming in October and I sang all the way through to the next June. In fact, I was singing for about two months before I even knew I had the role.
The roughest make-up I ever wore was for 'Phantom of the Opera' because the phantom's face was all disfigured, and he's trying to pass in public so he can attend his beloved opera. That was make-up over make-up.
I originally wanted to go into sports, but my first concert was KISS at the shooting of 'KISS Meets The Phantom Of The Park.' The minute I saw Gene and Paul... it was all over. I knew that's what I wanted to do.
Phantom Films is an established production house and it will help to spread awareness about the documentary film 'Katiyabaaz' among the audience. I saw this film and I loved it. Then we decided to support this film.
I landed the role of Bravo 5, the only female fighter pilot in 'Star Wars: Episode I - The Phantom Menace.' I did my bit and fired my guns, but I haven't a notion of which side I was on or who I was firing the guns at.
'Phantom Menace' was a huge project. It was the biggest visual effects production ever done at that point, and it was a little scary how big it was and how many unknown technologies had to be developed to do that work.
Given the volume of PC sales and the way McAfee runs its operation, I imagine there must be thousands of phantom subscribers - folks who signed up once upon a time and left the software behind two or three computers ago.
As one of four daughters, I grew up with an imaginary brother - wondering what it would have been like if one of us had been a boy. There's no question that there was a phantom boy child in my imagination when I was young.
I received a grant from The Ford Foundation to write a book for kids about urban perception, or how people experience cities, but I kept putting off writing it. Instead I started to write what became The Phantom Tollbooth.
Because of its phantom nature, and despite elaborate defense mechanisms, the ego is very vulnerable and insecure, and it sees itself as constantly under threat. This, by the way, is the case even if the ego is outwardly very confident.
O reason, reason, abstract phantom of the waking state, I had already expelled you from my dreams, now I have reached a point where those dreams are about to become fused with apparent realities: now there is only room here for myself.
I grew up in the age of radio. That was my main boyhood form of entertainment: lying on the living room floor with my ears affixed to the radio. I loved shows like 'The Phantom,' 'Cisco Kid,' and even 'Happy Theater' when I was younger.
Doom is a classic supervillain, akin to the Phantom of the Opera. It's not about revenge so much as, like, 'I'm back - now watch this!' It all boils down to the music. The mask is a slight theme for people to enjoy, and it adds mystery.
It is the mass dream of inverted self, populous with fears overt and secret, that forms the continuous but gossamer thread upon which are strung as phantom beads all civilizations from the remotest past of record to that of the present day and hour.
I was not exposed to a lot of culture. The shows we saw in high school, like 'Phantom of the Opera' and 'Miss Saigon,' were thrilling. But my love affair with theater started with seeing a production of 'Little Shop of Horrors' that my sister was in.
I had to get used to wearing a mask and wearing a prosthetic and performing with those things while singing and expressing myself through stylized movement, while keeping it as human as possible so the audience could be closer to the horror of the Phantom.
From apparently superluminal radio sources in deep space, to the neutrinos that were supposed to be arriving ahead of schedule at the Grand Sasso experiment in Italy, every apparent exception to Einstein's ultimate speed law has turned out to be a phantom.
I haven't seen Clones, which has been during this period when I haven't seen much of anything, but I did see Phantom Menace, and see my feelings about it - see, first of all, I think that when you make a lot of movies, your attitude about the movies changes.
Well we'd just seen Gerry. I think he wanted somebody who had that authority and was handsome. The thing is, he's a big hunk isn't he? All I can say, if you look at his chat line, or the Phantom website, it's quite worrying. Because the girls really seem to love him.
Futurism eventually got marred by its link to Fascism, but early on, it was totally avant-garde, and I wanted to dream a phantom link from the early futurists to the politically radical Italy of the 1970s, a time of fun, play, subversion - if also violence and mayhem.
I went to see 'Phantom of the Opera' with my grandma and my mom when I was very little. The stage, the voice, the music... Composer Andrew Lloyd Webber has been a massive inspiration to me for some time - the storytelling, that deliciously somber undertone in his music.
I loved fantasy, but I particularly loved the stories in which somebody got out of where they were and into somewhere better - as in the 'Chronicles Of Narnia,' 'The Wizard Of Oz,' 'The Phantom Tollbooth,' the 'Dungeons & Dragons' cartoon on Saturday morning in the '80s.
I have questioned myself about the brutality in the last few novels. Actually in 'The Leopard,' in hindsight, I feel I went a little bit too far with screaming blood. There are a couple of scenes that I regret and wish I had the chance to rewrite. 'Phantom' has less blood.
The new game that I'm working on will be called 'FNAF World.' It will not be a horror game, but a role playing game where you create a party using the huge selection of characters from the 'FNaF' games, including the classic, withered, toy, phantom, and nightmare versions.
'Phantom' was for me an interesting technique of telling the story. You have one voice that it is in the present telling what is happening, and then there's one voice from the past that's also driving the story forward. And you know that the two story lines will meet eventually.
But beyond the hysteria of phantom death panels, where is the abomination? Show me the provisions that will hurt consumers, because if you think a $110 billion a year tax break for working-class Americans to buy private health insurance is a government takeover, I welcome the debate.
In the Broadway world, I've always wanted to play Valjean in 'Les Mis', since I've already played Gavroche. I'd also like to play the Phantom of the Opera, but I haven't really thought about any film characters. You've got to have a whole lot of training for the Phantom role, vocally.
I was very young, and I was on vacation with my family, and there was a retrospective of old films, and one of them was 'The Phantom of the Opera' with Claude Rains that was in color. It was something very important for my career because I began to follow these stories that were morbid.
Lesley Manville comes at 'funny' from a totally different direction in 'Phantom Thread,' using snootiness and froideur. The effect of her performance - as the difficult manager of her difficult brother's couture dress business - stems in part from the chill she puts into her line readings.
When I was a vocalist, a lead singer in a rock band, I was a law student at the time. It wasn't a professional rock band, it was for fun. I was already way out of that by the time Phantom came along. Having to learn to sing, it was such duress, having to really try and get to such a quality.
Jean Toomer is a phantom of the Harlem Renaissance. Pick up any general study of the literature written by Afro-Americans, and there is the name of Jean Toomer. In biographies and memoirs of Harlem Renaissance figures, his name is invoked as if he had been one of the sights along Lenox Avenue.
When you're really young, dating girls, and trying to explain Kiss, they just look at you like you're kind of crazy. I think they got so big in the Seventies and were such a phenomenon - they did the 'Kiss Meets the Phantom of the Park' movie, the solo records - some people only know the merchandising stuff.
I love the fact that James Ivory made films about Britain, made 'Howards End' and 'The Remains of the Day,' or that Paul Thomas Anderson made 'Phantom Thread.' They're about Britishness, but they're from an American perspective. And I actually think they're fantastic in the way that they understand Britishness.
My problem is, whether it's for emotion or for the talents that a character has to have in a role, I find it very difficult to not take on a challenge. For instance, 'Phantom Of The Opera,' in truth, scared the crap out of me, but I wasn't going to walk away and say, 'I didn't do that because I didn't believe in myself.'
I think my most famous was 'Poco's Legend.' It's a white album with a simple line drawing of a horse. It almost has a Picasso feel to it. I remember that Rusty Young, the lead singer of the band, said, 'I want you to draw a horse for the song 'Legend,' which is about a phantom spirit horse. I want you to do it in several lines.'
There was one I did called 'The Phantom,' and we did a sequel to that called, 'Return of the Phantom.' I thought there was wonderful stuff in that. There was another show I love called 'Man Beast,' where I was the star, and I turned into a Beast; one of those things. It was great fun because I didn't let the stuntman work at all.
My view is that musicals are love stories with great final scenes. It's just that simple. Musicals are also conflicts between two worlds. And by those criteria, 'The Color Purple' is actually exactly the kind of story that makes for a great musical. Yes, it's got hard stuff in it, but so does 'Les Miserables' and 'Phantom of the Opera.'