A Quote by Colleen Atwood
The designs were based on quite a lot of research of what a movie musical is, filtered through the eyes of today. If we'd gone strictly with the '20s, the movement would have been impaired.
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If someone said, "Here, you have your pick, you can do either a musical, Moulin Rouge type of movie, where you sing and dance, or an action movie, or a Shakespearian or Elizabethan movie," I would definitely love to do a movie that was based on a musical, where I would get to sing, dance and act, all at the same time.
You are playing a character obviously, and everything you are saying is filtered through that person. It is not you that is saying it. It is filtered through a character that doesn’t have your own set of values - so it is not really odd. Inevitably we help each other with a lot of line-learning. Plus there is a familiarity which is quite nice. We have done TV together before.
I'm doing 'Les Miserables,' the movie. I've done a lot of musicals and a lot of movies, and I know there are not a lot of people in Hollywood who have been down those two paths so I've been like, 'Come on, let's do a movie/musical.'
People comment on the way that I phrase. And in my 20s, I realized, my phrasing is jazz phrasing. I don't comply strictly with musical theater phrasing. Musical theater tends to be very one and three, and jazz is definitely two and four.
It's quite an interesting time, the '20s, because the politics of England were changing quite a lot, and the class structure was starting to shift a little.
The sunshine filtered in through the billowing white curtains. Tatiana knew there would be only an instant, a brief flicker of time that bathed her with the possibilities of the day. In a moment it would all be gone. And in a moment it was. Still...that sun streaking through the room, the distant rumble of buses through the open window, the slight wind. This was the part of Sunday that Tatiana loved most: the beginning.
I have always been known as Mahesh Bhatt's wife, and I would tell people, 'Hello! I'm here!' This has always been a struggle. I would like to be known for who I am. I'm very happy to be known as his wife or Alia's mother. But I am also a person who, in her own right, has gone through quite a lot of odds.
I have accomplished a lot, but it didn't happen overnight for me. I was 35 when I got the show, and had been working professionally for 15 years. It would be a lot weirder if I were in my early 20s and stumbled into it.
It was basic research in the photoelectric field-in the photoelectric effect that would one day lead to solar panels. It was basic research in physics that would eventually produce the CAT scan. The calculations of today's GPS satellites are based on the equations that Einstein put to paper more than a century ago.
I did, I was in Europe a lot. I would say, mid 20s to late 30s. Less so in the last ten or twelve years. Based on some political stuff and other things, I think I'm not the only musician, the only American jazz musician that's not going to Europe quite as much. I think we're seen a little differently in the world, unfortunately, than we were pre-Iraq invasion and things like that.
Going there [Japan] in the early 80s was quite a culture shock. I think the bombardment of Shinjuku and all that would have filtered through, which certainly informed things we later filmed.
'The Lost Symbol' has much to impart about the mind-body problem as filtered through the work of Peter's younger sister Katherine, who more than dabbles in noetic science, or 'leading edge research into the potentials and powers of consciousness', according to the website of the real-life Institute for Noetic Science, based in Northern California.
I've done a lot of research about the Civil Rights movement, and I'm fascinated with how difficult it would have been for a black man to show feelings toward a white woman in that time period.
The decision to retire was quite an easy one for me because by that stage my knees were so badly gone. If I had been like Martina Navratilova and my body had let me I would have carried on playing a lot longer.
My life and his were twisted into a single strand. Cut one, and you cut both. If he were gone, I would not be able to live through that. If I were gone, he wouldn't live through it, either.
You know, and it really doesn't have a lot to do with the movie. That's the trick to doing a good musical is that, if you take that music number out, there's less to the movie there. You would miss it.
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