A Quote by Dino De Laurentiis
We set ourselves a limit and cut characters which weren't so vital.
Related Quotes
The aim of the book is to set a limit to thought, or rather - not to thought, but to the expression of thoughts: for in order to be able to set a limit to thought, we should have to find both sides of the limit thinkable (i.e. we should have to be able to think what cannot be thought). It will therefore only be in language that the limit can be set, and what lies on the other side of the limit will simply be nonsense.
I think at some level, it's just alchemy that we, as writers, can't explain when we write the characters. I don't set out to create the characters - they're not, to me, collections of quirks that I can put together. I discover the characters, instead. I usually go through a standard set of interview questions with the character in the beginning and ask the vital stuff: What's important to you? What do you love? Hate? Fear? .. and then I know where to start. But the characters just grow on their own, at a certain point. And start surprising me.
When we are not honest, we are cut off from a significant resource of ourselves, a vital dimension that is necessary for unity and wholeness.
Google and others truncate headlines at 70 characters. On the Manti Teo story, Deadspin's scoop fell down the Google search results, overtaken by copycat stories with simpler headlines. Deadspin's headline was 118 characters. Vital information - 'hoax' - was one of the words that was cut off.
In terms of my relationships with a lot of the adult characters, when I was working with Harrison, it wasn't like a verbal agreement, but we both understood that because there was this constant tension between our characters, we couldn't say "Cut" and start acting normal. We had to keep an essence of that relationship in our characters off screen which is really important.
If we don't get violent with ourselves, castigate ourselves, ostracize ourselves and excommunicate ourselves because we didn't live up to the standards we set down for ourselves, then maybe we don't have to do that with other people.
We limit ourselves so much. And, we limit heaven too. We think it's a place where angels just play harps. And hell has to be fire and brimstone. But that's very untrue.
When people come to see my stand-up, they get a chance to see my characters interact with each other. I enjoy pushing my characters to the limit. No matter how far out there I go, I look for things that make the characters human.
When we enter a forest phase in our lives we enter a period of wandering and a time of potential soul growth. Here it is possible to find what we have cut off from, to "remember" a once vital aspect of ourselves. We may uncover a wellspring of creativity that has been hidden for decades.
I enjoy pushing my characters to the limit. No matter how far out there I go, I look for things that make the characters human.
For each of us there is a set limit to our intellectual powers which we cannot pass.
When you are on assignment, you stick to the facts, limit your vision, and often cut out the most revealing material. There is no texture, no shades of gray. In fiction, you can bring the reader on the perilous journey with your characters as they discover that war is more like a wilderness of mirrors, full of danger and uncertainty.
One set at extreme intensity does the muscle-building job. It must be stressed that the one final, all-out set I do takes me to the very limit of my capabilities. If you feel you can attempt a second set, then you couldn’t have been pulling out all the stops during the first set. It's not pretty, but it works.
I seen an interview with Kobe; he said what separated him from a lot of people was everyone thought 30 points was a lot. He said he never set himself a limit, and that always sticks in my head. He said he'd score 100 if he could. So he never had a limit, I don't put a limit on anything.
It is apparently vital that we should be in the dark about ourselves not to be clear about our intentions, fears, and hopes. There is a stubborn effort in us to set up a compact screen between consciousness and the self.
The idea of making music from an imaginary culture was to give ourselves a set of restrictions and parameters within which to work. Otherwise, we might have just gone on all kinds of creative detours, some of which might have been interesting. But better we confine ourselves to something.
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