A Quote by Diana Rigg

I rely upon the directors to fill me in before a shot. — © Diana Rigg
I rely upon the directors to fill me in before a shot.
I've turned down good directors before because I knew the part didn't speak to me and I've worked with less talented directors before because the part I had such passion for.
I did this thing for HBO called 'Strip Search' with Sidney Lumet, who was one of the best directors I've ever worked with. We actually had a rehearsal period before we shot, which is unusual.
In terms of directors, great actors make directors - Gary Oldman was great to work with, for me; Tim Roth, too. You work with Scorsese and Spielberg and they were wonderful directors, but for me, working with actor/directors is special.
When I was an undergraduate in Film & TV at NYU/Tisch School of the Arts, most of the projects I shot had male directors, and only a few had female directors.
If I'm ever working on a set and anyone talks about a master shot, I say there is no master shot. Before I even went to film school, I learned about movies by being in a British feature film, where everything was shot master shot, mid-shot, close-up. But I reject the idea of a master shot. You don't shoot everything mechanically; you find imaginative ways that serve the action.
In the film work, I love to work mainly from the script and from talking to the directors, so a lot of the music, big portions of the scores that I've made, have been composed before the movies were even shot.
A person could look at me through ninety-five per cent of my experience and know that I had no shot. Because I was so unreliable. The only thing you could rely on me for was to betray you.
I rely on my directors, a lot. I love being directed.
I always think before an important shot: What is the worst that can happen on this shot? I can whiff it, shank it, or hit it out-of-bounds. But even if one of those bad things happens, I've got a little money in the bank, my wife still loves me, and my dog won't bite me when I come home.
I have come to you, Jesus, to take your touch before I begin my day. Let your eyes rest upon my eyes for a while let me take to my work the assurance of your friendship. Fill my mind to last through the desert of noise. Let your blessed sunshine fill the peaks of my thoughts. And give me strength for those who need me.
Most of the time, with voice-overs, you're recording before they've got the graphics, and you also don't get a whole script. I get my lines, as I show up that day. You don't know what the rest of the story is, so you really rely on the people in the room that you're working with, so they can fill you in on what's going on, right around your particular lines.
You'll still work with some directors where that doesn't happen, and sometimes it's out of necessity because you're in a really complicated, choreographed fight scene and the whole thing is being prevised in a computer, so it's been decided months before, but I think that's sneaking into the way action scenes are shot.
I rely on poetry or literature to keep me centered before I go onstage because it reminds me to be present.
There's always one shot that I can rely on when I'm not hitting the ball that well, is my serve.
Very hard to get an audience. So if you're going to fill the theatre, you can't just rely on old stuff.
I don't remember everything about my life, but I'm very fortunate to have a group of friends I can rely on - they fill in the blanks.
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