A Quote by Annette Bening
Even with a stable character, you want something surprising to happen, hopefully because that's what the camera loves the most. That's what is great about film.
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It's always scary when you're doing a sequel to a film, because you don't want to just repeat the first film in a different location like most sequels. You want to do something totally different, and something that actually expands the world of the main character.
I think the camera was always my obsession, the camera movements. Because for me it's the most important thing in the move, the camera, because without the camera, film is just a stage or television - nothing.
When I work, I really try to get absorbed in the character. Unless I want to do something playful with the camera, I'm not too worried about where the camera is or positions.
If you swap it about, do television, theatre, film, you can go on surprising yourself. The problem is you get employed to do something you've already done. They want something from that sheep pen of performances they've seen you do.
There are just lots of possibilities in the world...I need to keep my mind open for what could happen and not decide that the world is hopeless if what I want to happen doesn't happen. Because something else great might happen in between.
Perhaps the most surprising thing about mathematics is that it is so surprising. The rules which we make up at the beginning seem ordinary and inevitable, but it is impossible to foresee their consequences. These have only been found out by long study, extending over many centuries. Much of our knowledge is due to a comparatively few great mathematicians such as Newton, Euler, Gauss, or Riemann; few careers can have been more satisfying than theirs. They have contributed something to human thought even more lasting than great literature, since it is independent of language.
The stigma that used to exist many years ago, that actors from film don't do television, seems to have disappeared. That camera doesn't know it's a TV camera... or even a streaming camera. It's just a camera.
The reality is, because of access to film, you don't have a lot of black people who want to go behind the camera. We raise our children to want to be in front of the camera and shine, and that's on us.
He loves us because He is filled with an infinite measure of holy, pure, and indescribable love. We are important to God not because of our resume but because we are His children. He loves every one of us, even those who are flawed, rejected, awkward, sorrowful, or broken. God's love is so great that He loves even the proud, the selfish, the arrogant, and the wicked.
A good horror film is something that taps into something absolutely truthful about us - about what we want, about what we're terrified of - and brings that to life on screen in such a way that we can get close enough to that character to let our defenses down and want them to be safe.
Let your bending in the Archer's hand be for gladness, for even as he loves the arrow that flies, so he loves also the bow that is stable.
The thing about the four-camera shows is that it's kind of a great combo of theater and film. You have an audience, but you have a camera to capture things, so that's a great thing, too.
When you are writing, you have to love all your characters. If you're writing something from a minor character's point of view, you really need to stop and say the purpose of this character isn't to be somebody's sidekick or to come in and put the horse in the stable. The purpose of this character is you're getting a little window into that character's life and that character's day. You have to write them as if they're not a minor character, because they do have their own things going on.
You have a great God who loves you and cares about you. Be full of hope that something good can happen to you. God is a master at new beginnings. He loves fresh beginnings, He makes all things new.
With film acting, and often when the camera comes very close, you just have to think about something and the camera will pick it up.
In 'Road,' my character is linear and uni-dimensional. It was more of a reacting character. I am a foil to the other characters in the film. It is the most normal character in the most abnormal, extraordinary film.
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