A Quote by Chris Owen
'Angus' was my first real film, but I had been acting for about 3 threes before that as well.
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Being the Lux girl has been a real journey! I did my first ad before my first film released. I was shy and unaware.
I'm actually a huge fan of digital as well. I appreciate how that technology opens the doors for filmmakers who never had access to that level of quality before. However, I do think film itself sets the standard for quality. You can talk about range, light, sensitive, resolution -- there's something about film that is undeniably beautiful, undeniably organic and natural and real.
Lee Strasberg told me I had talent. Real talent. It was the first time that anyone, except my father--who had to say so--told me I was good. At anything. It was a turning point in my life. I went to bed thinking about acting. I woke up thinking about acting. It was like the roof had come off my life!
My first manager, Suzanne DeWalt, saw a play I was in. She was invited by the director Joan Scheckel, who was my first real acting teacher. Joan was also good friends with my friend Susie Landau Finch, who had first encouraged me to consider acting, so that's how I began studying.
I signed my first film soon after I graduated from college. So, my real struggle started after my first film didn't do too well. But I believe failure only makes you stronger.
I worked with Michael Goode back in 2009. We had done a short film together where I was the actor and he was the director. We got on well and I always remember that being the one of the first acting jobs I did.
Well, I've been acting for 50 years now, professionally. I've been acting a lot longer. My mother reckons I was acting when I got out of the womb. But because I've been working in the theater, I've probably only done about 25 movies but I've done more than 100 plays.
It's all about hustling, whether it's in Boston or the film industry. I've been hustling my entire life - acting my way into trouble and acting my way back out again. I'm just fortunate to have had the opportunity to apply it in a different direction.
Ive had plenty of lessons about film acting and theatre acting.
I've had plenty of lessons about film acting and theatre acting.
You don't have that interaction with the audience when you're acting for film; you're kind of acting in a vacuum. You're acting for a disinterested grip who just wants to reply to his wife about what time he'll be home for dinner. Everyone else on a film set is also there because they're paid to be there. They're not there because they're passionate about what you do necessarily.
When I started acting, there were parts in English that I thought I just had to try it out and go to another country. I did a film in Ireland. It was my first film abroad.
There's something magical about film, it's the ultimate for me, because it's kind of permanent - inasmuch as anything is. When I went to see Buster Keaton when I was about 14 and I came out of the cinema having really laughed at this film which had been made 50 years before, I thought: That's immortality. It's fantastic.
That's why we're going to disrupt the lunch," she (Kat) said. "You know," Angus said, "I've got a little C-four that I've been saving for a rainy--" "We're not blowing up my company, Angus," Hale said. "Righto. Carry on, Kitty.
Albom with Trent Willmon is the first project that I haven't had to scrap money together for. The is the first time I've used any outside songs at all; until now it's only been stuff that I've written. This is also the first album of mine that's had any co-writes on it, as well. It's a big step, coming off of anything we've ever done before.
In the case of my second film The Fish Child (El Niño Pez), I had written the novel about 5 years before I made into a film. In the case of The German Doctor I had published the novel a year before I started writing the script, I even had another project to shoot. But I had this idea of the powerful cinematic language from the novel that I couldn't let go of.
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