A Quote by Edgar Ramirez

There's never a dull moment on a David O. Russell set. But that's the beauty of it. That's the magic. — © Edgar Ramirez
There's never a dull moment on a David O. Russell set. But that's the beauty of it. That's the magic.
Being on a Michael Bay set is... well, it's the only set I've ever been on. But I would imagine there's no set that's run quite like it. It's big, it's loud, it's powerful, it's intense, it's dirty, it's hot, it's sweaty - and it's really exciting. There's never a dull moment; there's never a quiet moment.
David O. Russell's best films are thrilling high wire acts that run the moment to moment risk of tumbling to the ground. In his latest, "Joy," Russell has more trouble than usual keeping his balance on the wire.
If I had auditioned for 'Merlin' on magic alone, I don't think I'd have got it. Like any kid, I probably had a magic kit, but it's not something I ever pursued. I've never watched a magic show like David Copperfield or used him to base my character on, but I really like David Blaine and Darren Brown. They are doing wonders.
It [Dr Phil] was great. We had such a good time. Never a dull moment on set, considering the 18 kids. It never got boring.
Beauty is an intangible thing; can not be fixed on the surface, and the wear and tear of old age on the body cannot defeat it. Nor will a "pretty" face make it, for "pretty" faces are often dull and empty, and beauty is never dull and it fills all spaces.
Russell's prose has been compared by T.S. Eliot to that of David Hume's. I would rank it higher, for it had more color, juice, and humor. But to be lucid, exciting and profound in the main body of one's work is a combination of virtues given to few philosophers. Bertrand Russell has achieved immortality by his philosophical writings.
Peter was dull; he was at first Dull; - Oh, so dull - so very dull! Whether he talked, wrote, or rehearsed - Still with his dulness was he cursed - Dull -beyond all conception - dull.
I've worked with David O. Russell.
The appearance of things changes according to the emotions; and thus we see magic and beauty in them, while the magic and beauty are really in ourselves.
I know, when I was in film school, some of my films were silly, but a lot of them were more dramatic. I don't think I intentionally set out to do comedy stuff. I guess that's a consequence of coming up working with David O. Russell and skewing toward those sensibilities.
Dull magic is a collection of tricks: great magic should sting.
Part of the magic of the experience lay in the sheer beauty of the setting: the breathtaking sight of the high mountains, the sweep of the sky, the panorama of the great valley. The beauty drives you out of the self for a moment - so that for this time, the self is not.
To express dynamic motion through a static moment became for me limited and unsatisfactory. The basic idea was to liberate myself from this old concept and arrive at an image in which the spectator could feel the beauty of a fourth dimension, which lies much more between moments than within a moment. In music one remembers never one tone, but a melody, a theme, a movement. In dance, never a moment, but again the beauty of a movement in time and space.
But beauty is set apart, beauty is cast by the sea, a barren rock, beauty is set about with wrecks of ships.
The tendency is to blame boredom on the environment. "This town is really dull" or "What a boring speaker." The particular town or speaker is never dull, it is you experiencing the boredom, and you can eliminate it by doing something else with your mind or energy at that moment.
I love so many directors. I love David O. Russell. I love David Fincher, I love Alexander Payne and Jane Campion and my aunt. Spike Jonze. There are just so many amazing directors.
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