A Quote by Bela Lugosi

In the studio the director controls the actor's every move, every inflection, every expression. — © Bela Lugosi
In the studio the director controls the actor's every move, every inflection, every expression.
Every breath you take and every move you make Every bond you break, every step you take I'll be watchin' you Every single day and every word you say Every game you play, every night you stay I'll be watchin' you
The future is to heal back to the mind again. Recognizing that the mind is all powerful - it controls every cell to every degree of its genetic expression.
There's this sense of being strange, which is at the heart of every creative person. Every writer, every actor, every director knows who Ripley is. We've made careers and lives out of pretending, making things up, inhabiting other people's stories and lives. That's what I do every day. . . . The story is so audacious and subversive: a central character who behaves badly and isn't apparently caught. That intrigued me no end.
With every action oriented or adventure film, there's going to be a moment when every actor becomes a stuntman and every stuntman becomes an actor. You try to do as much of it as you can, but inevitably the studio wants you to finish the movie. So you've got to slow down and you're really got to defer to your team to make sure you do.
Life always gives us exactly the teacher we need at every moment. This includes every mosquito, every misfortune, every red light, every traffic jam, every obnoxious supervisor (or employee), every illness, every loss, every moment of joy or depression, every addiction, every piece of garbage, every breath. Every moment is the guru.
Every actor. every director, everybody needs an Oscar. You have to have that little statue in Hollywood or else you are nothing.
I have my own office, and I'm there during the evenings and weekends. But during the week, I'm sitting in the middle of my studio, talking with everybody, deciding together every detail, every pallette, every yarn, every colour.
It's incumbent upon a director, if you want to pull the best performance out of an actor, you have to really work to who they are and how they work and not just expect them to hit a mark every time. You have to be very adaptable in the approach that you use with every different actor.
I have always believed that an actor cannot afford to have a favorite genre. He must excel in every kind of film and fit in with every director's vision.
Every noble impulse, every unselfish expression of love, every surrender of self to something higher than self, every loyalty to an ideal, every fine courage of the soul – by doing good for good’s sake – that is spirituality. –
And yes, I'll admit, I am jealous. I'm jealous of every minute you spend with him, of every concerned expression you send his way, of every tear shed, of every glance, every touch, and every thought. I want to rip him to pieces and purge him from your mind and from your heart. But I can't.
My approach is so simple; every song I sing, every story I tell, every move I make, must move the audience to laughter, tears, or inspiration. Otherwise, why do it? It's the communication.
When Shana Alexander interviewed me for Life magazine in 1952, she gave up after 4,000. At one time or another, I've worked for every studio in Hollywood, for almost every director with most of the actors and actresses.
In Korea, the director has the final word. If the director makes a decision, that decision is final. In Hollywood, every decision needs to go through the producer, the studio, and sometimes even the main actor. There is a certain procedure that needs to be followed.
You can say something that can really help and actor and you can say something that can really get in the way of an actor's performance, kind of cut them off from their instincts and really get into their heads. And every actor's different. Every actor requires something different. Being an actor, for me, was the greatest training to be a writer and director.
I quarreled with every word, every phrase and expression, every image and letter as if they were the last I was ever going to write. I wrote and rewrote every line as if my life depended on it, and then rewrote it again.
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