I don't believe that directors need to essentially manipulate actors into doing things. You can suffer for your art, and you can make your own self suffer for your art. You don't need anyone else to do it for you. I work best when there's a safety trampoline of kindness.
I work best when there's a safety trampoline of kindness.
A novel is a work of poetry. In order to write it, one must have tranquility of spirit and of impression.
Colleges and classrooms should be havens of tranquility, places where thoughtful discussions occur, where students work together with their teachers to acquire knowledge of the arts and sciences.
On a transcendental level, a film is not going to be better or worse because there's a prize behind it. The work will be what it is, with or without a prize.
Transferring successfully to the next generation means producing work that's as good as or better than the work of the first generation that founded the agency.
It can be difficult to be subtle and not cartoony in prosthetics. But when you see characters like Bubbles and Desiree from 'Little Britain' on screen, it makes all the hard work worth it. It's such fun watching those transformations.
When I talk about character work, I don't really feel like i do much as an actor when I look at other great actors who win big awards for doing incredible transformations.
For those who are able to work, work has to be seen as the best route out of poverty. For work is not just about more money - it is transformative. It's about taking responsibility for yourself and your family.
Work is transformative. It gives you a greater chance of a greater income. You can affect your life while you're of working age, so you have scope and opportunity. Pensioners do not.
What we're putting forward is the most radical reform of the welfare state... for 60 years. I think it will have a transformative effect in making sure that everyone is better off in work and better off working rather than on benefits.
I worked with Michael Bay on 'Transformers,' and I got to work with the writer of 'Transformers,' who's this really great guy whom I loved.
My work is about my life as an event, and I find myself to be very temporal, transient.
Photographers usually want to photograph facts and things. But I'm interested in the nature of the thing itself. A photograph of someone sleeping tells me nothing about their dream state; a photograph of a corpse tells me nothing about the nature of death. My work is about my life as an event, and I find myself to be very temporal, transient.
Look there are going to be, there are already adjustment processes in place but the point is that you'll actually make them work and get satisfactory outcomes if there's decent burden sharing along the way. If there's, if you like a proper transitional assistance.
I used to work at Bloomingdale's when I was transitioning, and they didn't want me using the same bathroom as the female employees or what have you, so it was a struggle.
The way I work is, I always compose a shot list before I talk to anybody, including my DP. So I'll spend a couple months basically creating the movie in my head, so I have a very solid film in my head, where I know every shot, and I know what the transitions between scenes are.
Just as man can't exist without his body, so no rights can exist without the right to translate one's rights into reality, to think, to work and keep the results, which means: the right of property.
It's definitely fun when you're able to translate your practice into the game. It's fun, and you know that your hard work paid off.
I was nearly 40 when I published my first book. I was a slow starter - or rather, I was slow to gather my work together, though I had published translations, mainly of the Italian poet Montale, by then.
