A Quote by Channing Dungey
'Ten Days in the Valley' has everything: It's a thriller, it's a taut, exciting love story, and it has the kind of character our audience loves - a strong, powerful woman who is also dangerously flawed.
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I would like to do any way possible that Howard Stark can make a return. He's such a fun character to play, and I really believe that he could make quite an exciting character to watch more of. The flawed entrepreneur, the kind of crazy playboy, from that era is an exciting concept.
All of my history as an African-American woman, as a Jewish woman, as a Muslim woman. I'm bringing everything I ever knew, and all the stories I've read - everything good, strong, kind and powerful. I bring it all with me into every situation, and I will not allow my life to be minimized by anybody's racism or sexism or ageism.
A strong woman is a woman who craves love like oxygen or she turns blue choking. A strong woman is a woman who loves strongly and weeps strongly and is strongly terrified and has strong needs. A strong woman is strong in words, in action, in connection, in feeling; she is not strong as a stone but as a wolf suckling her young. Strength is not in her, but she enacts it as the wind fills a sail.
Although I love all genres, I really love to play in two main arenas: Comedy and Thriller/Horror. In either genre I love playing flawed, layered characters that are actively fighting to achieve something in the story.
My book 'The Exciting Adventures of Boo' was first published when I was fifteen. It is a children's book with ten different stories. In each story, the main character Boo learns a lesson - one of the ten most important lessons I learned as a kid. I also donated all the money from my books I personally sold to my local ASPCA Animal Shelter.
No Way Back is my kind of novel - a tough, taut thriller - Mofina knows the world he writes about.
Wonderstorm is a new company and 'The Dragon Prince' is our first kind of big, exciting story that we're trying to bring to an audience.
I don't photograph for other people. I love an audience, mind you. Once I've got them there, then I love an audience. Not a big audience, though. I'd rather please ten people I respect than ten million I don't. But I don't play to an audience, I do it for myself.
Shiddat' is a beautiful story of love and the strong bonds between people. It is pure and intense and also very relatable. I am usually not a love story kind of person, but when I heard the script, it moved me a lot.
Women sometimes really love to look at other beautiful women on the screen. But they don't look at a woman the way a man looks at a woman. They want to be that woman. They like if a woman is beautiful or sexy, especially if she's powerful. They like to see her catch a man, or to be powerful in the world. I think this is why a lot of women love noir films and classic films because they can really identify with these really strong, beautiful women. That's the kind of power that women have lost culturally.
With any project I work on - not just 'True Detective' - I don't feel the need just to play a strong woman. I don't want the audience to say, 'Oh, she was so strong.' I want to play characters that are flawed and interesting.
In 'Stree,' I play a character who believes that he knows everything. And I play a cop in 'Drive.' It is a different kind of a role. It is not a uniform-wearing character. The film is interesting, since it is a thriller.
If we are on the outside, we assume a conspiracy is the perfect working of a scheme. Silent nameless men with unadorned hearts. A conspiracy is everything that ordinary life is not. It's the inside game, cold, sure, undistracted, forever closed off to us. We are the flawed ones, the innocents, trying to make some rough sense of the daily jostle. Conspirators have a logic and a daring beyond our reach. All conspiracies are the same taut story of men who find coherence in some criminal act.
'Deity' will be a compelling and exciting thriller with complex and interesting characters. A neo-realistic style to story and images will take the audience deep into Calcutta's many different levels. A fascinating clash between American and Indian culture.
[ The Finest Hours] reminded me a lot of a film I did called Unstoppable in that you have a driving thriller aspect of the film and it's not all that complicated of a story and there's a simple elegance to it. I liked that. It is also driven by a really strong romance and ordinary men doing extraordinary things. I love that.
An inconstant woman is one who is no longer in love; a false woman is one who is already in love with another person; a fickle woman is she who neither knows whom she loves nor whether she loves or not; and the indifferent woman, one who does not love at all.
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