I actually love actresses who look like they feel really natural. I like Patricia Clarkson, Laura Linney, Frances McDormand. Those are actresses where the second they show up on screen you're like, oh my gosh, this movie just got so much better.

Your heart weeps a little bit when you have to say goodbye to a crew you spend two months with, but when it comes to the part, when you live so close to someone for two months, it kind of fades away and then you see her again on screen later on.

As far as I can see women who have facelifts don't look younger, just weirder. You see them on screen with these tight, little porcelain faces - then the hand goes up to the face and it looks like it belongs to an alien. I find it really freaky.

You can still have chemistry on screen without getting on with the person. But it just makes your job a lot easier if you don't have to gird your loins, if that's not quite the right phrase, every time you're going to do a scene with that person.

I catch an old 'Morse' on ITV3. I've never thought I looked particularly like my son. He's taller than me and blond. But when I see Lewis walk into a room with John Thaw, it's like my son has just come onto the screen. That's very strange indeed!

In primary school when I was 6-7 years old, I always go to theater with my uncle, and I don't know why I like the atmosphere, dark only. The screen has some lighting, that kind of things, you can see the movie star and so that's why I like movies.

Like many people, I only knew of Ford Madox Ford through a book called 'The Good Soldier,' which is everybody's favorite Ford Madox Ford if they have one, but I came to read 'Parade's End' when it was suggested via Damien Timmer of Mammoth Screen.

I created DonorsChoose by putting pencil to paper - literally - and sketching out each screen of the web site and how it would work. Then I paid a programmer from Poland $1,500 to turn my sketches and common-sense rules into a functioning website.

I deliberately keep myself apart from a lot of stuff; I don't Tweet, I don't do Facebook, I don't blog, and that's largely because I spend my working life staring at a screen and hitting a keyboard, I am trying to cut down on that, not increase it.

And it was out in the theaters in two weeks. This is not, 'We're going to develop twenty-five and maybe one's going to get made,' so the first three things I wrote got up on the screen and, good, bad or indifferent, I got to see them on their feet.

What I got, unconsciously, from admiring Fred Astaire was that he didn't want what he was doing to look difficult. What was difficult, in my opinion, was making it look so genuine, so effortless. I equally have tried to remain unseen on the screen.

For me, 'Jaws' is much more of an adventure movie, but when it's scary, it's terrifying. When it's funny, it's hilarious. When there's drama, it's the most sincere stuff on screen. When there's adventure, there's swashbuckle. It's all those things.

Maybe we adults idealize our own red-rover days, the hot afternoons spent playing games that required no coaches, eating foods that involved no nutrition, getting dirty in whole new ways and rarely glancing in the direction of a screen of any kind.

I'm lucky because the most dangerous thing that could happen to me is that someone will say something mean on a computer screen miles away, and so I feel like if that's all that I'm facing, then why would I not use my platform to talk about things?

Acting for screen is very different from acting on stage, and then obviously when you dance... everything is a physical embodiment. But the discipline is the same approach. You have to take both things seriously; nothing well-crafted is by mistake.

Telling your story out loud is the way human beings communicate. We don't normally think up words, translate how to spell them and then move our fingers up and down over this randomly arranged set of keys to make the same letters appear on a screen.

My favourite TV show is... 'Downton Abbey.' The characters are wonderful, and the style is created so beautifully on screen. Everything from the table settings to the linen seem perfect to me. While I'm watching it, I'm in a totally different world.

When you feel a connection, a gut connection, a heart connection, it's a very special thing. What's familiar to everyone is watching people falling in love; it doesn't happen on screen that often. People fall in lust, then they're suddenly together.

It is not as though the process of production holds any mystery for me, I know exactly what it involves and I know the predominant concern in shooting one of those things is production values - or as they would say, seeing it all up there on screen.

It is, then, by those shadows of the hoary Past and their fantastic silhouettes on the external screen of every religion and philosophy, that we can, by checking them as we go along, and comparing them, trace out finally the body that produced them.

Eventually I found it had been working all along-but didn't show anything on screen until it had the first full page of text. I inserted 30 new lines, and suddenly my toy said 'hEllO woRlD'. An hour later I understood alphabet shifting rather better!

I'm sorry that we have to have a Washington presence. We thrived during our first 16 years without any of this. I never made a political visit to Washington and we had no people here. It wasn't on our radar screen. We were just making great software.

As a director on 'The Office,' there's a tremendous weight that comes with directing features. I was being asked to direct a show that had already won an Emmy for Best Comedy. Steve Carell and the cast had already won the Screen Actor's Guild Awards.

The Ford Flex is a really, really cool car. You get inside and you have so much headroom and it's really comfortable to drive and it's real techy inside. You look at the screen and it's blue and you've got all kinds of controls. Everything is digital.

Then I have a head mounted display which actually was designed for the military to do synchronized building entries and that's looking down at my hands, so projected on the big screen behind me, you can see my hands as I'm putting the tracks together.

In a time not distant, it will be possible to flash any image formed in thought on a screen and render it visible at any place desired. The perfection of this means of reading thought will create a revolution for the better in all our social relations.

There are people doing yoga in New York, dancing around; that's the power of India. You go to a nightclub somewhere in Spain and there's Amitabh Bachchan on the screen there, dancing around. That's the power of India. That's the power of Indian people.

What a costume designer does is a cross between magic and camouflage. We create the illusion of changing the actors into what they are not. We ask the public to believe that every time they see a performer on the screen, he's become a different person.

Steve Martin is one of the most intelligent, well-read human beings that I've ever come across. He is equally as funny off screen as he is on. But he also has a very intellectual side, and he's a really nice human being. We actually become good friends.

Baseball is a movable conversation across nine innings. It is eye contact with the person seated next to you in a park where the pitcher is separated from the batter by 60 feet, six inches or in a family room where a 60-inch TV screen hangs on the wall.

The reality is: By the time swine flu got on the radar screen of global public health, it had already spread. It was already in the States, it was in Mexico, it was in New Zealand. By the time it reaches that point, you've lost the ability to contain it.

My professional acting life, stage and screen, has brought me public support, emotional fulfillment and material comfort. It has brought me together with fine people, good companions with whom I've shared the inevitable lot of all actors: flops and hits.

When the Beatles came in, I really concentrated on making a lot of movies. Those beach films that we did were a lot fun. They hit with an audience that related to what we were trying to do on the screen. That kept me going all through that Beatle period.

On the morning of September 11th, I was literally about 18 blocks from the World Trade Center. I witnessed in person what a lot of people witnessed in person, but what the world really saw on the television screen, I saw it with my own eyes that morning.

My theory is, I don't know how long it's going to be, five or ten years, there will be only two ways to see a movie, and that will either be on your computer through your TV screen or in the cinema, end of story. There will be no DVD; that's it - simple.

To me, it's about good work, a good story, and tastefully done. There's so many stigmas - oh, you're on the small screen or you do films or you do reality. It's about the project and not the medium on which it's delivered. It's the story you tell, period.

It's never been important to be a huge star or to have some breakout role. If you're the lead, you get a lot more screen time and you get a lot more chances to develop that character more thoroughly than you would if you do it in a little supporting part.

I think with Shahid Khan I knocked at the door of Indian cinema. It was a beautiful character and Anurag Kashyap managed to bring that on screen with the same beauty. I was lucky to play him and become a part of a milestone film like 'Gangs of Wasseypur.'

It was a few days later I came out to Hollywood for a screen test, and so did a lot of other people. So, I really didn't think I would get it. I was definitely the one that was least likely to get it, because everyone else was an already established star.

What we're doing with Band of Brothers is trying to put it into human terms, so it is not just a flickering, black and white myth on a screen, it is a resonant story. I want the audience to recognize themselves in these men. They're not just mythic heroes.

The premise that we're working with is that when most people go to a show, they're not really watching what's going on onstage. They may be watching what's on the screen. But when the songs are playing in their mind's eye, they're actually watching a movie.

There was a show at Sesame Place where you could lay down on mat in front of a blue screen, and the monitor would show you flying with Super Grover. I must have been five years old when I did it, and I still remember it. Likely the origins of my acting bug.

I don't write directly on to the computer because I don't think well facing forward with fingers on a keyboard. I think better looking down holding a pen. And the concentration quotient of pen and paper is higher than when I'm moving words around on screen.

Sure, there were people from Missouri and Illinois who grew up Cardinals fans and migrated to New York for work or love. Cardinals fans congregate periodically at Foley's near Herald Square to root for the team of their childhood, up there on the TV screen.

For me, writing never gets easier. It's always hard work. It doesn't matter how many words you wrote the day before, or how many novels you've completed in the last decade: every day you start fresh again with that same blank page, or that same blank screen.

When the show opens, fans can text to a number we flash up on the screen, and then we do a meet-and-greet with 60 to 80 people every night. It's something I love doing, and I would say that's probably more fans than most artists bring backstage after a show.

Watching yourself on screen is always a little weird, but I didn't cringe when I saw myself on 'The Hour.' It actually exceeded my expectations; every shot looks like a vintage postcard and even my most brutally honest friends have said they think it's good.

There are so many people who come to me to be an actor, but I select only those people who I feel can fit my script. If they do, I immediately say yes. I don't do screen tests. I talk to them and see how their mind functions. I read their mind and cast them.

In 1996, Al Jazeera was the first TV station in the Arab world to allow Israelis to appear on the screen and express their views and address the Arab world. Before that, Arab broadcasters did not allow what was perceived as the enemy to appear on the screen.

Dancing for the length of time that I did, it centered me in such a way to be really in tune with my body, and I just feel like I'm physically able to do things because of my ballet background. Without ballet, I don't think I'd look graceful at all on screen.

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