A Quote by Bill Whittle

The reason the first three Star Wars movies were so terrific, and the second three sucked so bad, is actually very simple. The first three were about rebels, shooting guns and driving fast, and speaking with American accents. The second three were about politicians, discussing treaties and holding court, and speaking with British accents.
My formative years were all about 'Star Wars' - the first three, not the last crap, obviously. I understood 'Star Trek' but it was too caricatured for me.
To me, fair friend, you never can be old, For as you were when first your eye I eyed, Such seems your beauty still. Three winters cold Have from the forests shook three summers' pride, Three beauteous springs to yellow autumn turn'd In process of the seasons have I seen, Three April perfumes in three hot Junes burn'd, Since first I saw you fresh, which yet are green.
It was really executed well, from the art direction to the wardrobe to everyone else. And I have to say, two really exceptional directors who did three each. Roxann [Dawson] did the first three and Jeremy [Webb] did the second three. And I think they really were very meticulous in getting the right tone because it is both. It isn't dour and it isn't grim, but it's not a romp either. It's truthful and it has room for both of those things.
Maybe the next three Star Wars movies will tell the story of how the last three Star Wars movies got so shitty.
I like photographing women who appear to know something of life. I recently did a session with a great beauty, a movie star in in her thirties. I photographed her twice within three weeks and the second time I said: "You're much more beautiful today than you were three weeks ago." And she replied: "But I'm also three weeks older.
A day without a dark cloud. Almost a happy day. There were three thousand six hundred and fifty-three days like that in his stretch. From the first clang of the rail to the last clang of the rail. Three thousand six hundred and fifty-three days. The three extra days were for leap years.
I've been very fortunate with my three spec scripts - which is sort of my thematic trilogy of the American Frontier. With 'Sicario', 'Hell or High Water' and then 'Wind River' - which is the third - there were no rewrites. It was the first draft for all three.
My first three movies, I didn't start editing until we were finished shooting. That's unthinkable to me now.
Finally he spoke the three simple words that no amount of bad art or bad faith can every quite cheapen. She repeated them, with exactly the same slight emphasis on the second word, as though she were the one to say them first. He had no religious belief, but it was impossible not to think of an invisible presence or witness in the room, and that these words spoken aloud were like signatures on an unseen contract.
I performed in public for the first time at three years old. I remember it like it was yesterday. It was on a big stage. There were probably three or four hundred people in the audience. We were doing this dance, this Kermit the Frog routine, all of us in our little green leotards.
There are three movies that I am exceptionally proud of in my life, and I rarely commit to a list of films that I like, that I've made... but these are the three films that I was passionately connected to. The first was 'ET,' the second 'Schindler's List,' and third is 'Saving Private Ryan.'
I've never seen the first three 'Star Wars' movies. It's just not really my genre.
If you look back historically, admittedly a long time ago, there were three Afghan wars in which Britain didn't even come a good second. In more recent years the Russians were there with 120,000 men for ten years.
In 1970 the top three skills required by the Fortune 500 were the three Rs: reading, writing, and arithmetic. In 1999 the top three skills in demand were teamwork, problem-solving, and interpersonal skills. We need schools that are developing these skills.
I had three influential teachers. The first was Uta Hagen. The second two, Bobby Lewis and my late husband, Charles Kakatsakis, were both from the Actors Studio.
There were three of us; Witkiewicz, Bruno Schulz, and myself--the three muskateers of the Polish avant-garde between the wars. Only Witkiewicz remains to be discovered.
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