A Quote by Corey Stoll

In some ways, it's easier to be the lead. Week after week, scene after scene, the rhythms of filming force you to peel away a certain amount of artifice. When you're on set that much, there's a license to let the character emerge from the work itself.
I think if you have a series for a long time, it's in some ways like being in a play with a long run - in that the character stays the same - and so you are constantly posed with the challenge of making it interesting and unique week after week, year after year.
Having the security of being in a series week in, week out gives you great flexibility; you can experience with yourself, try a different scene different ways. If you make a mistake one week, you can look at it and say, 'Well, I won't do that again,' and you're still on the air next week.
Do I believe the execution will work out? Les Moonves said yes to Survivor based partly upon my show Eco-Challenge. He liked my way of filming outdoors. It was the first use of helicopters on a documentary with the gyro-stabilized lenses. And a certain beauty of filming, allowing the drops to fall from a leaf into a puddle, allowing a spider to weave a web. Taking the breath to allow that to happen rather than showing scene after scene.
He saved the production a tremendous amount. Now they did the scene where Omar is on the horse and he's in the deep snow, they went to Finland to do that. That scene they went to Finland for a week. I wasn't around then.
The scientific evidence of how serious this climate crisis is becoming continues to amass week after week after week.
It's very trying on a marriage when you're doing a one hour show, week after week after week. You don't have enough time for people that maybe you should have top priority.
I always thought the piano scene was kind of unique to shoot because we were actually able to film with the playback of the actual song. And that was quite amazing because it almost made it easier - music is usually something that is added after filming has finished so to be able to shoot a scene with music was really wonderful.
I remember the early 1980s, when I first got one of these fabulous film critic jobs. The downside was sitting through 'Splatteria III: The Dismembering of the Clampett Clan' or 'The Oklahoma Meatgrinder Massacre' or some such. The headaches unleashed by watching attractive kids die week after week after week cannot be imagined.
WrestleMania is a week-long series of events, and the logistics of executing that week along with the week leading into it and the week after it are extraordinarily difficult in our own back yard.
One week you may be an actor, and the next week you had to be nimble enough to be a TV host. And the week after that, you might have to do some stand-up or be in an improv company or write and sing a song somewhere.
I'm trying to find a character that's my age and I can sustain week after week. I'd like to do a series.
I think that sharpens the intention of a scene and clarifies a story's arc. Of course, I don't seek the questions until after I've written a scene - or maybe after I've daydreamed it.
I came home for a week after I finished filming 'Rambo' because, after being in the jungle for three months, all I wanted to do was walk in the Highlands.
I came home for a week after I finished filming Rambo because, after being in the jungle for three months, all I wanted to do was walk in the Highlands.
I roughly draw the scene beforehand to be more confident on the set. Instead of talking and explaining certain things, I try to visually communicate the scene to my team with the story board. This is how I work.
When I was working on The Wire with the other actors, scene after scene after scene, I felt like we were singing together. We were dancing together. I'm like, "This is the best ensemble I've ever worked with. I'm working with these cats? Holy mackerel, this is heaven."
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