A Quote by Curtis Hanson
Samuel Fuller pictures were both written and shot in such an unusual way that his voice came through loud and clear, and it made a big impression on me.
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Ben Franklin and Samuel Johnson, he credits their wisdom for his success. "They were both utterly brilliant men. And powerful communicators. Both have helped me all the way through life. Their lessons are easy to assimilate."
There's a bit of a difference in the way he sounds. Samuel E. Wright lent his voice and personality to the animated film with his booming voice. I have a high-tenor voice. Instead, I have to figure out a way to convince the audience to come along with me and accept this new texture and tambour to the way Sebastian sounds. I have a great dialect coach.
Some of the memories were not clear - -dim human memories, seen through weak eyes and heard through weak ears: the first time I'd seen his face... the way it felt when he'd held me in the meadow... the sound of his voice through the darkness of my faltering consciousness when he'd save me from James... his face as he waited under a canopy of flowers to marry me... every precious moment on the island... his cold hands touching our baby through my skin.
We rehearsed for a bit for an Indie film, which is kind of unusual, we had a week of rehearsals before we actually shot the films so we were able to really break down the script and kind of work through all of the improvisational things that he wanted to do, so he had a chance to really feel his way through before we actually shot it and I think that helped a lot.
I had a high school English teacher who made me really work at writing. And once, when I got an assignment back, she'd written: 'This is so good, Andrew. This should be published!' That made a big impression on me.
Rachel,” came a raspy voice from the upper level, and both Trent and I turned. It was Quen, wrapped in a blanket as if it was a death shroud, the black-haired intern at his side, supporting him. His hair was plastered to his skull with sweat, and I could see him wavering as he stood there. “Don’t touch Trenton,” he said, his gravelly voice clear in the hush, “or I’m going to have to come down there…and smack you around.
Initially, it connected with me when I was a kid, seeing a lot of movies while growing up in Los Angeles. And Sam's [Fuller] pictures are an expression of such a distinct voice that he was one of those filmmakers who made me aware that there was, in fact, a real presence behind the camera that was telling the story, as opposed to actors just presenting it.
The strange thing about my life is that I came to America at about the time when racial attitudes were changing. This was a big help to me. Also, the people who were most cruel to me when I first came to America were black Americans. They made absolute fun of the way I talked, the way I dressed. I couldn't dance. The people who were most kind and loving to me were white people. So what can one make of that? Perhaps it was a coincidence that all the people who found me strange were black and all the people who didn't were white.
You don't have to say it out loud. I already know why you like me.' 'You do, huh?' 'Yep.' He wrapped his arms around my waist, pulling me closer. 'So,' I said. 'Tell me' 'It's an animal attraction,' he said simply. 'Totally chemical.' 'Hmm,' I said. 'You could be right.' 'It doesn't matter, anyway, why you like me.' 'No?' 'Nope.' His hands were in my hair now, and I was leaning in, not able to totally make out his face, but his voice was clear, close to my ear. 'Just that you do.
Spectators around the world enjoyed watching Seve, but talking to a lot of the players, he made such an impression on them the way he played, and the way he was such a beautiful, natural talent. His hands on the club. His address position. He had an unbelievable way of telegraphing through his countenance what he was going to do with the ball. It was just like an artist.
My mother had found this album of all these old slides from the '50s of me as a kid and I said, 'We should have these made into pictures because the color's so beautiful.' There were pictures of me from 1955 as a little baby wearing all these elaborate outfits, and in these pictures was this amazing story of a gay man and his mother.
When the script was written, it was sent to me with asterisks marking where he felt a song would be appropriate. Before the film was shot, the score was written. I made a demo of it, so they lived with the music as they were making the film.
Let your inner queen's voice come through loud and clear. Be strong, be authentic, be you, and you'll do her proud.
A lot of my comic influences are distinctly American: Woody Allen and Bob Hope, for example. They were always the underdogs who were using wit to sort of battle their way through. And it seems to me that a lot of contemporary U.S. comedies are shot through with losers. None of the characters in 'The Big Bang Theory,' for instance, are studs.
I'm most inspired by people who are doing what they love in a big, loud way. And big and loud doesn't always have to be big and loud. Sometimes these people can appear as a quiet storm, but in their full expression everyone feels the impact.
One summer I remember, I got exposed to Chuck Berry and Buddy Holly and Buddy Holly was a very very big, made a very big impression on me. Because of a lot of things, you know, the way he looked and his charisma.
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