A Quote by Divya Agarwal

If I enter a set, I am all over the place and be in my zone once the camera is on. — © Divya Agarwal
If I enter a set, I am all over the place and be in my zone once the camera is on.

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Sometimes on the basketball court or on the football field, you enter this place called 'The Zone.' You're not supposed to acknowledge when you're in 'The Zone,' but when you are, you simply cannot be stopped.
I can use the camera to make a place or landscape; the camera to a greater extent projects rather than takes in or reproduces. The camera, or, rather, the eye, produces the impression of the place: I as a photographer am not passively taking in; I am active as a subject generating the object.
When your persona begins to take over your music and becomes more important, you enter a dangerous place. Once you have people around you who don't question you, you're in a dangerous place.
Once we were on the set, we each did different kinds of work. I was doing more the technical stuff, the framing and the camera work, and she was working more with the actors. Marjane [Satrapi] and I don't stop speaking once we're on the set. We continue to talk. We define what our roles are going to be on set, because to have a snake with two heads is silly.
The sphere ... which is located beyond our physical world is called the earth zone. It is also known as the zone girdling the earth. This zone has varying degrees of density, the so-called sub-planes, into which human beings enter after they leave their physical bodies. This is the astral world that individuals enter into with their astral bodies after their physical death.
I hate losing and cricket being my first love, once I enter the ground it's a different zone altogether and that hunger for winning is always there.
To be changed by ideas was pure pleasure. But to learn ideas that ran counter to values and beliefs learned at home was to place oneself at risk, to enter the danger zone. Home was the place where I was forced to conform to someone else’s image of who and what I should be. School was the place where I could forget that self and, through ideas, reinvent myself.
I find that when I am actually writing, I enter a zone of concentration too small to admit my troubles.
The zone is a place that you rarely visit. It's not some place you go every week. The zone is sacred ground.
A lot of the time with an independent production, you go onto the set, and you rehearse it in front of the crew, and at that point, the cinematographer takes over. You start accommodating the camera instead of the camera accommodating you.
I saw this sign posted once, it said, "Blasting Zone Ahead." Wow. Shouldn't that read: "Road Closed?" What do you mean there's a blasting zone? What am I supposed to do? "Hey-uh, you might wanna buckle up. Blasting zone coming up. Yeah. Just saw the sign. Put the helmets on back there! Yeah I think we're- (Pow!)- Oh! We're getting close! (Pow!)- Oh! This is gonna be a bad blasting zone! Remember that last one-we lost Billy?"
Once you turn on the camera, making a movie is making a movie. I don't care if it's $9 million dollars or $50 million dollars. You have bigger toys, bigger set, actors who are better paid, but once you turn on the camera, it's director and performance, and I don't find a big difference.
We actors don't travel as tourists with a camera, we really get to enter the life of a place and get to know it.
I am for joining a free trade zone. The European Union is not such zone, but a zone of raging bureaucracy which stears every hectolitre of wine, and every tone of beef.
The second I walk onto the set and I know that there's a camera and I know that there's a David Twohy behind that camera, there is zero pressure. There is just me jumping into a pool called 'Riddick.' It's the most free I am. It's like channeling something.
As for the zone, I always find the zone immediately after I am sure I will never ever find the zone again because it has left me for some other, better writer.
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