A Quote by Bill Condon

I think that finding a way into somebody's life that's sort of off from a side angle can tell you more about that person than a greatest hits approach. — © Bill Condon
I think that finding a way into somebody's life that's sort of off from a side angle can tell you more about that person than a greatest hits approach.
I can't tell you how many thousands of small moments that I've had with employees in our company that have been nothing more than a one-on-one. I'll see the baggage-services person, he or she is by himself. I'll pull them off to the side and have a 15-minute conversation about their history, their life, that kind of thing.
I don't think I have the stomach Veronica has. I think I have the determination and the stubbornness and a little bit of the go-get-em. But I think I'm about 20 percent more girl than Veronica is. There's a lot of Veronica that hits home with me, the sort of feisty area. But I think that I have a little bit more girl. I'd scream my head off if I saw a body in the freezer.
You can pick songs that sound like hits, but if it's not something that somebody wants to tell their friends, 'Hey man, have you heard this song?' then I don't think it's worth it. The only way to get your music out there, is for someone to tell their friends about it.
I think the person who has had more experience of hardships can stand more firmly in the face of problems than the person who has never experienced suffering. From this angle then, some suffering can be a good lesson for life.
Even when you think you can detach yourself from the characters, you don't. Because you're spending so much time trying to realize this person and make them real that they do infect you, in a way. And you do take them home and live with them, even if you think you're turning the character off. But in order to pull off a role convincingly, you wind up thinking about that person all the time, and it does sort of creep into you. And then there are things that you'll respond to, or react to in a very different way than you would normally.
I've been booed off the field, and I've been carried off the field by people cheering me. So I've seen both ends of it, and I can tell you the bad side of it gets a lot more attention than the good side does, but the good side is pretty darned good when it's on your side.
I like writing people from a slightly sharp angle and then throwing more light on them. I think in life we see somebody and make judgments very quickly about who they are and what they are. Or we think people are boring because they appear ordinary.
I'm a bit of a weird creature... I'm self taught and went to a regular film school, not art school, and I think it's unusual for somebody to approach animation from that angle. In a sense I've sometimes consclassered myself more of a filmmaker who just happens to animate.
One way of watering down the effects of violence is to approach it in a more lighthearted way. I don't mean to say that you laugh when somebody has their arm sawn off, but you can diffuse fear with humour.
I think the main way that somebody would know they're translucent is that their life has become more about the embodiment of Spirit than about acquisition, and that may be something that creeps up on you.
Somebody gotta tell you this: Cancer kills way more Americans than any Arabic terrorist. We use more money to fight them than finding a cure, So a little kid sits there with his chemo-therapist. Hair falling out while his vital signs weaken... He'll be dead while his parent are in debt for his treatment.
Life is painful sometimes. It touches everyone, so you may as well try to look for other answers and find peace. So, it is difficult to write those types of things because nobody wants to tell sad stories. I think that I'll always tell stories about human hope. I would love to be able to tell somebody, "It's okay. It's all right. Be a good person." That's what my job is, in life.
Everybody complains about getting older, but I find it such a rich time of life. There are negative things about it, I suppose, but more than that, I'm finding it to be a very positive experience in which growth suggests itself in a much more alluring way than it did when I was young - isn't that funny?
Generally I'm quite picky - I usually don't approach a person unless I think we have some sort of cohesive way of working together.
I think that being an artist is more an approach to life than an approach to work.
We always feel safest, I think, around the most dangerous person who's on your side, more than the nice good person who's on your side.
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