A Quote by David Duchovny
The only episode which was completely my idea was for Mitch Pileggi, the actor who portrays Skinner, the Assistant Director of the FBI. He appears often in the series, but only for a few scenes. You know virtually nothing about him. I wanted him to have an episode that was his alone, so I wrote Avatar for him. He even has a scene that's pretty . . . hot [knowing smile]. He was very happy.
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The only problem with Mitch [Pileggi, the actor who plays Skinner] is that his bald head means there's nothing to hold onto when he starts to buck.
We do want the freedom to move scenes from episode to episode to episode. And we do want the freedom to move writing from episode to episode to episode, because as it starts to come in and as you start to look at it as a five-hour movie just like you would in a two-hour movie, move a scene from the first 30 minutes to maybe 50 minutes in. In a streaming series, you would now be in a different episode. It's so complicated, and we're so still using the rules that were built for episodic television that we're really trying to figure it out.
I wrote Steve Carell's last episode. I think it was a really good episode, but there's always a tension between what's good for the series and what's good for an episode, because the more closure you put on an episode, the more significant feeling it is.
Was it possible I'd labeled him incorrectly? Shallow jocksdidn't overcome adversity and accomplish the things Leif had. I'd labeled him, not even knowing him. Just because girls went gaga over him andevery boy wanted to be him didn't make him a jerk. The only jerk in the room happened to be the judgmental, elitist female. Me.
I wrote 'The story of O' alone, for Dominique Aury, to interest him, to please him, to occupy him. I wasn't young, nor particularly pretty. I needed something which might interest a man like him.
Often nothing keeps the pupil on the move but his faith in his teacher, whose mastery is now beginning to dawn on him .... How far the pupil will go is not the concern of the teacher and master. Hardly has he shown him the right way when he must let him go on alone. There is only one thing more he can do to help him endure his loneliness: he turns him away from himself, from the Master, by exhorting him to go further than he himself has done, and to "climb on the shoulders of his teacher."
If you just stay with it and take it scene by scene, episode by episode, all of the questions that I have, as an actor, tend to answer themselves.
Oh, the fullness, pleasure, sheer excitement of knowing God on Earth! I care not if I never raise my voice again for Him, if only I may love Him, please Him. Mayhap in mercy He shall give me a host of children that I may lead them through the vast star fields to explore His delicacies whose finger ends set them to burning. But if not, if only I may see Him, touch His garments, smile into His eyes - ah then, not stars nor children shall matter, only Himself.
Born often under another sky, placed in the middle of an always moving scene, himself driven by the irresistible torrent which draws all about him, the American has no time to tie himself to anything, he grows accustomed only to change, and ends by regarding it as the natural state of man. He feels the need of it, more he loves it; for the instability; instead of meaning disaster to him, seems to give birth only to miracles all about him.
I want to beat up Michael Fassbender in a movie. I was with him at the beginning of his career when he did an episode of 'Murphy's Law.' He's a proper superstar and enormously talented, but I want to do a scene where I properly duff him up.
My conception of the audience is of a public each member of which is carrying about with him what he thinks is an anxiety, or a hope, or a preoccupation which is his alone and isolates him from mankind and in this respect at least the function of a play is to reveal him to himself so that he may touch others by virtue of the revelation of his mutuality with them. If only for this reason I regard the theater as a serious business, one that makes or should make man more human, which is to say, less alone.
I'm from Arkansas, so I didn't even know who Howard Stern was until I was about 18 or 19. I only kind of knew what I had heard about him; then I saw him doing his thing. That's what I really liked about him.
I never watch television, although, the other night, my wife and I caught an episode of 'Buffy the Vampire Slayer' from Season Six. It's the only series of which I've ever watched every single episode.
You can only win the game when you understand that it is a game. Let a man play chess, and tell him that every pawn is his friend. Let him think both bishops holy. Let him remember happy days in the shadows of his castles. Let him love his queen. Watch him lose them all.
Garret Swopes was a lot like a hot gay friend only he wasn't gay, which was too bad because then I could tell him how hot he was without him getting the wrong idea.
Twice in her life she had mistaken something else for it; it was like seeing somebody in the street who you think is a friend, you whistle and wave and run after him, and it is not only not the friend, but not even very like him. A few minutes later the real friend appears in view, and then you can't imagine how you ever mistook that other person for him. Linda was now looking upon the authentic face of love, and she knew it, but it frightened her. That it should come so casually, so much by a series of accidents, was frightening.
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