Quotes of All Topics . Occasions . Authors
The Internet is going to have a bigger impact on content creators than the television ever had. The reason why that's the case is that suddenly you're able to tell stories 24/7 in the home, out of the home, in every room of the home. A television screen can be in your pocket through a smartphone.
Screen is satisfying because it's so technical and mysterious. It's like playing roulette: you get a script, you think it's either great or naff, but you have no idea how it will really turn out. On stage, you are your own editor - and you get brief moments of grace, where suddenly you feel free.
You show people playing poker or hacking into a computer; it feels so significant in the script, and then when you see it on the screen, it loses something. But there's something about cooking - food being prepared is incredibly captivating. It became just a fun box of tools to use as a director.
Commercials certainly pay more than films. I was pleasantly surprised at the profitability of commercials when I did my first ad for a popular soap brand years ago. I was paid a huge amount of money for a mere 30 seconds of screen presence. After that, ads have been a regular feature in my career.
I was 15 when I read the script for 'Earth to Echo.' I thought it was amazing, and I couldn't think of turning it down. It's awesome for a kid from Brooklyn to have an opportunity to be on the big screen. And I had a great experience learning what the movie business is like. So, I'm glad I did it.
I've realized that what you think of when you make a 'big movie,' if it's actually a green screen movie, it's like doing independent New York theater because you don't have any backgrounds or props. So it's kind of like making the lowest budgeted film you could possibly imagine, plus $100 million.
I'm a good son, a good father, a good husband - I've been married to the same woman for 30 years. I'm a good friend. I finished college, I have my education, I donate money anonymously. So when people criticize the kind of characters that I play on screen, I go, 'You know, that's part of history.'
I went through a phase of deep introspection. I realised that while doing films back to back, I was getting burnt out and not concentrating on quality. I wasn't preparing for my role and was working like a machine. When I saw the result on the big screen, I felt that the work I'd done was horrible.
'Fast Times At Ridgemont High' is one of my favorite movies; it's a film that's a human comedy, it's a drama, and the characters all, in a way, fit the teenage archetypes, but they don't become stereotypes because each of the actors brought their own presence and their own personality to the screen.
I don't want to be a grumpy old man or too pessimistic, because if I have a chance, I would prefer to watch a film in the cinema with an audience on a big screen instead of watching it on a cell phone. It's a very different experience, but somehow I think this form will have its own future and life.
I don't feel I write fast. I write in longhand and do so much revision. On the page, it's so old-fashioned. I could write a whole novel on scrap paper, scribbles and things. I keep looking at it and something develops. For me, using a word processor would mean staring at a screen for too many hours.
The thing that is incredibly helpful is that we screen the movies and we ask the audience if they like it or not and we ask a lot of questions and do testing on the movies. For comedies, at least, it's very helpful. If they're not laughing and they don't say that they loved it, then I have screwed up.
I feel like my job as a storyteller and director is to create an experience where the audience forgets they're in a cinema and can get lost in the story. Things popping out of the screen call attention to the artifice of what you're doing, so I use 3D as more of a window into a world behind the screen.
What a person feels within themselves and about themselves radiates from them. Trust me, I have worked with people - both men and women - who are not what most would consider conventionally attractive, but who exude such a magnetism about them that people are compelled to watch them on stage or screen.
I was inspired by many teachers when I started my channel, Bob Ross being one of them. His voice was so soothing, almost like hypnosis. He was that great of a teacher, even the casual viewer could learn how to paint from watching his show. Growing up, I just remember him being so mesmerizing on screen.
I want children who can make eye contact. I want children who know how to resolve conflicts with their peers. I want children who understand the dynamics of interpersonal relationships that are physical and tactile. I do not want children that only know how to interface with the world through a screen.
I've only ever played 'God of War' while we were shooting it. I've seen a lot of the videos, but while we were shooting 'God of War,' they had a green room for the actors to hang out in, and they always had the newest game on the big screen. So we'd sit there playing 'God of War' to get us into the mood.
Sometimes, things need to be so understated on film that I don't even see them as funny, which isn't my favorite style, comedically. When I watch film comedy, I like people that are a little bit more alive on the screen and wound up. I like volatility and unpredictability and other long words like those.
To work for months and months and months, you kind of spill blood and give your heart and soul to something, and then you just sort of let it out into the universe and hope that people like it. How you see it in your head is never how you see it on the screen, so it's almost like an out of body experience.
You can't really fake chemistry: either you have it or you don't, and you can't have a relationship on screen if you don't have one off screen. I love Sarah Paulson. I absolutely adore her. My wife has given me full permission to love Sarah Paulson, and I look forward to doing that for the rest of my life.
I think what Democrats need to do is they need to work for the country and make sure that not only the southern border but the northern border is secure - make sure that we have the ability on the borders to be able to screen every vehicle coming across to make sure that drugs don't come into this country.
Certainly as an actor, half of your work is not going to end up on the screen anyway, because in the editorial process, they need to cut to the other actor in the scene. Very often, your best work ends up on the cutting room floor, because it just doesn't work with the overall narrative drive of the story.
On some level, acting is the art of pretend, and you have to have a highly cultivated sense of imagination. You have to be able to see things that aren't there, no matter what aspect of acting, whether it's green screen, whether it's on stage, whether it's anything else, whether you're working on the radio.
The cinema has done more for my spiritual life than the church. My ideas of fame, success and beauty all originate from the big screen. Whereas Christian religion is retreating everywhere and losing more and more influence; film has filled the vacuum and supports us with myths and action-controlling images.
I couldn't believe it! I mean, I'd always dreamed of acting on the screen - my previous background was all theater - but I wasn't sure if the opportunity would ever present itself. Not only was this acting for the screen, this was acting in 'The Hunger Games!' I knew that I had to give this audition my all.
Doing a 'Star Wars' TV show could be prohibitively expensive because 'Star Wars' requires a lot of prop building and a lot of character building, so we wanted to - with ILM's help - be able to make it a financially viable option to solve all the problems that you have with shooting a blue screen environment.
The Real is ever-present, like the screen on which the cinematographic pictures move. While the picture appears on it, the screen remains invisible. Stop the picture, and the screen will become clear. All thoughts and events are merely pictures moving on the screen of Pure Consciousness, which alone is real.
In a psychiatric hospital, a lot of people believe that people on TV are talking to them directly through the screen. I'm with about 500 of these people, and I'm on TV every Friday night. As I was queuing up for breakfast one morning, one guy nearly jumped out of his skin. My first thought was to go 'Woooo!'
Grain isn't structured like a screen door that you're looking through, but pixels are. Film-based grain is just all over the place, one frame totally different from the next. So your edges are coolly sharp and have a different feeling, an organic feeling rather than this mechanic feeling you get with digital.
I think 2014 for me is going to give me the possibility to do even bigger things than anyone has done. I want to change the party scene - like, stop just being a DJ with lights, a big LED screen, and oh-look-at-me speakers. There's way more to a party, and I think everyone knows it. I want to make it special.
I remember seeing 'Aladdin' when I was five or six and loving it. I looked at the big screen and said to my mum, 'Whatever this Genie guy does, I want to do.' Mum said I couldn't be a genie, but that Robin Williams, who did the voice-over in the film, was an actor. So I said, 'OK, then, I want to be an actor.'
Every night, I will write until I'm done. Until my eyes are burning and tearing, and I can't see the computer screen anymore, till I finish the script, till I get to the point where I'm happy stopping, till I get everything off my plate, because I hate going to bed with a full plate. It makes me very neurotic.
I love watching the Oscars and seeing everybody saying all that 'it's an honour just to be nominated' rubbish. Then you see their faces when the split screen comes up as the winner is announced - the losers are all smiling through gritted teeth and looking as if they just swallowed half a pound of soor plooms.
If you go into a studio without a set effectively, you've got a blue screen. As a DP you have to light it of what you think it should look like. You don't have any reference of what the background looks like. You might have some concepts, but effectively you're lighting it as what you think it should look like.
I have this set-up at my house where I have one big movie theater screen that's 9 ft. by 16 ft. Then, I have nine 63-inch monitors around it; four on either side and one underneath. So I get all nine one o'clock games, and I can switch them onto the big screen. That's what I do on the Sundays during the season.
When I heard about the Microsoft Kinect, though, I felt an urgency rising in me. A game you played without touching any machinery? A chance to wave your hands around, Minority-Report style, and move things around on a screen? This sounded like almost too much fun, with gadget-y pizzazz that sounded astonishing.
I loved couriers. You had this transfer of physical information happening throughout the city and the world. Someone picking up the package, putting it in a bag, going somewhere, taking it out of the bag, giving it to someone else. I thought that was so cool. I wanted to map it, to see that flow on a big screen.
Oftentimes, when we think of 3D, we think of things coming out of the screen, but actually, you've got this zero, this negative space, what they call the negative space, which is the scene, what's being filmed in the positive space of the audience. As you can have things come out, you can have all of this depth.
You could summarize everything I did at Apple was making tools to empower creative people. 'QuickDraw' empowered all these other programmers to now be able to sling stuff on the screen. The 'Window Manager,' 'Event Manager,' and 'Menu Manager.' Those are things that I worked on that were empowering other people.
Every weekday morning, I picture my first paragraph while I hike with my dog Milo near Mulholland Drive, looking out over the San Fernando Valley. I edit the paragraph, then memorize it, so that when I get back home and sit down at my computer, the blank screen's tyranny lasts only a second or two. A brief reign!
After a few days with the iPhone X, I can begin to make out its themes. It's a step towards fading the actual physical manifestation of technology into a mist where it's just there - a phone that's 'all screen,' one that turns on simply by seeing you, one that removes the mechanics of buttons and charging cables.
It was close to like a 67- or 70-day shoot for 'Tron' on stage, in the suit. You can't even sit down during the day because of all the cables that divide the foam rubber and all the electrical circuits. We had these stools that were tall with a bicycle seat on them and you're just looking at a blue screen all day.
It's very important for feminism for us to tell our daughters that they should be strong. But to tell our sons that they can be vulnerable, to have these characters on screen that are not perfectly masculine cowboys that never fail, for our boys to change their psyche as well, that's equally important for feminism.
It would have been tough for anyone to adapt 'Push' - an amazing but wrenching novel by Sapphire - for the screen, and I think director Lee Daniels made interesting choices, particularly with Precious' fantasies. In my view, some of them work and some do not, but they are definitely provocative directorial choices.
It's weird because every movie that I do is always a role that reminds me of a role that 'Pac would have done. And when 'Pac did 'Juice,' he was young - probably like 21, 22 - something like that. And that's my favorite actor. I know it might be weird to say, but he was talented on screen, and that's who I studied.
Just being able to get paid to do something you love is a wonderful thing. That said, a writer's daily routine, unless you're Dominick Dunne, isn't exactly glamorous. Much of it amounts to drudgery, staring at a computer screen all day in a room by yourself, juggling nouns and verbs to make a demanding editor happy.
I keep up with James Kochalka's online strip, and if I see a link somewhere or someone tells me about something, I'll look at it, but I don't usually keep up with any sites other than the 'American Elf.' I always have this feeling that there's not enough space in the screen, like everything's always getting cut off.
Actors are steeped in a world of agents and where the next job is coming from and what are their expenses and what is the hotel like. You want to take them out of that world and dump them into another world, so that when you meet them on the screen they don't seem like the guy who was in two others movies that year.
I've been hitting up Hooters since 1983, and I can assure you nothin' says football season is here quite like watching the game on wall-to-wall flat screen TVs with the smell of Hooters world-famous chicken wings in the air and an ice-cold beer in your hand, served up with one-and-only Hooters hospitality, of course.
It's not a natural translation, transition, to take something from stage to screen. Onstage your action is communicated through the spoken word primarily, and on screen it's communicated through pictures. So it's always been kind of unnatural to take something that lives on the stage and turn it into moving pictures.