A Quote by Adrian Dunbar

Because of 'Line Of Duty's proper adherence to police procedure, by definition we end up doing some very long interrogation scenes which are difficult to learn, and require lots of concentration to sustain them across shooting.
This definition about against their will, that's a made up term. Did any of those little kids say I didn't want to come here? Did they say I was brought here against my will? Some of them were walking across the border on their own, lots of them, and we'll see them coming across every day at McCallum, Texas. They're still pouring across the border. They know what they're doing. It's not against their will.
I think it would be difficult to explore some aspects of Ted's past, because 'Line of Duty' investigates fictitious police forces - you never know, and you should never know, who it is we might be investigating.
Every time you have a crisis in a country you have an extreme wing coming up and proposing solutions. The way to fight them is by doing lots of work teaching people that every time these fascist systems gained power they ended up with big tragedies - lots of blood, lots of police, and lots of misery.
I think sometimes I'm more fond of doing the research for the character because you learn so much. Sometimes shooting is really difficult because you wake up early and you're always hurrying. And sometimes I don't know what I'm doing. I'm here and there.
Barrels are very difficult to find. But when you have them, give them lots of equity. Promote them, take them to dinner every week, because they are virtually irreplaceable because they are also very culturally specific. So a barrel at one company may not be a barrel at another company. One of the ways, the definition of a barrel is, they can take an idea from conception and take it all the way to shipping and bring people with them.
Enhanced interrogation is not to be considered lightly, but the use of enhanced interrogation techniques does not require moral people to abandon their beliefs. Rather, it is precisely during these difficult times that one's beliefs about life, justice and mercy become indispensible.
It's very difficult to find the time or the money for people to organize rehearsals for some movies. It staggers me how little preparation often goes into these scenes which are difficult and complicated. You think, "God, it's crazy. I've never met this person before and here I am having to work at how to do a whole performance on the set." It was great to have a few days of just talking to Michael [Caine] and Daniel [Barber] and thinking about the characters and the relationship between them before we started shooting.
There are some movies that you feel like doing because of the script. Some because it sounds like fun, some because that's the director you want to work with, some because it's a project that you want to be involved with, and some because you will be paid lots of money. But the bottom line is I must feel like doing it.
In general, I think there are some things that require time before you can talk about them. Some stuff that happened over the summer, for instance - the Philando Castile shooting, Alton Sterling, the police officers in Dallas - there was no room for jokes. But there are, of course, the policies that have given us those events. Now, there's a lot of room for jokes there. When you're looking at something difficult to talk about, there's always a sideways way in that feels a little less personal to people. That's where the joke lives.
Sleep is my best friend when we're shooting 'Game of Thrones' because there are very long days and intense scenes.
'How the West was Won' was very hard, because it was a three cameras technique, meaning three cameras wide. Therefore I wasn't speaking to my fellow performer, I was speaking to a camera, or a line next to the camera. It was difficult to do, because its not real acting. I had to pretend that I was 'seeing' Agnes Moorhead or Jimmy Stewart or Carroll Baker. I wasn't, I was acting to a drawn line. It took me personally two years to make the film, because my character starts at age 16 and I end up being 92 years old in the film. By the end of that production, I was ready for a long nap.
I wrote the plot [for the Persepolis ]and Vincent [Paronnaud] and I wrote and discussed the shooting of the script. Vincent then took care of the production design, the actual shooting, and what was going on within each scene. It's very difficult, though, to draw a line between who did what. Because Vincent would say something, and I would add something, and at the end you have this film, yet no clear idea of who did what.
I find it very difficult to say no when I'm in Ireland. You do end up going around doing lots of events and things and not getting work done, and it's not just a question of having hours at the desk.
Meditation is like a single log of wood. Insight and investigation are one end of the log; calm and concentration are the other end. If you lift up the whole log, both sides come up at once. Which is concentration and which is insight? Just this mind.
When you live without training for a long time, you end up losing that habit. It is difficult to resume things, even if you have some time to prepare. It is difficult to acquire that rhythm again. Many injuries end up happening.
I like shooting movies in Thailand very much because the government is so cooperative there. The police help you to close the roads for shooting.
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