A Quote by Elia Kazan

You can't just sit there and do the lines. You have to do something revealing or unusual. — © Elia Kazan
You can't just sit there and do the lines. You have to do something revealing or unusual.
Often we tell ourselves, "Don't just sit there, do something!" But when we practice awareness, we discover that the opposite may be more helpful: "Don't just do something, sit there!"
I do music mainly just for myself in the beginning, and of course it's great when I get a reaction, but I'm more interested in hearing something unusual to my ears, and that's what I'm also looking for in other people's music. It's not interesting to look for a sound that is made to make everyone on the planet move - I wanna have both, I want something danceable but very creative and unusual.
In the United States adherence to the values of the masculine mystique makes intimate, self-revealing, deep friendships between men unusual.
You make a decision whether you just work on the script and believe in every moment and pick out every moment, or if you sit down and memorize lines. Once you really dig into a script, learning lines becomes almost second nature.
I write a lot, and very often I write a couple of lines that are particularly revealing in some kind of way. And then as a few more lines get added and a piece gets added, eventually the song pretty much takes over and you can't really find a way to change those things.
In the past, the U.K. got away with selling things that weren't unusual. Now it's no use trying to export without having something that's unusual and better.
Being creative means first of all doing something unusual... On the other hand, however unusual it may be, the idea also has to be reasonable for people to take it seriously.
If something or someone's really bugging you, just sit on it. Just sit on it.
Redundancy is ambiguous because it seems like a waste if nothing unusual happens. Except that something unusual happens-usually .
To me the drawn language is a very revealing language: one can see in a few lines whether a man is really an architect.
Afraid no, I wasn't afraid but it was an unusual thing, it was an unusual feeling. It was an unusual atmosphere for me having grown up in this country and, and, and never seeing anything like that.
These stories of people with unusual powers and unusual appearances, who do unusual things, people are always fascinated by them.
Truth and Truthfulness is an ambitious work, and its journeys into history give it a breadth unusual in these days of increased academic specialization. . . . William's book combines real history and fictional constructs to tell a revealing story that makes us reconsider the meaning of familiar concepts.
I'm not the guy who will sit in a room with somebody who's using a bunch of big words and just act like I know what they're talking about, or sit on set with somebody and they'll be trying to explain something and not using layman's terms and I'll just say, "Hey, excuse me, what do you mean by that? Explain to me so I just understand."
You sit there, and you argue and you argue, and you sort of bully the hell out of the text until you're quite sure what it's revealing, and then you perform it.
I would encourage people to realize that you don't have to panic if you're not part of a mainstream, or if you find yourself outside the flow. If it doesn't suit you, don't go along with it. Just sit it out and get your stuff done. Don't just sit moaning or getting drunk—I spent some years doing that. But if you can just come up with something of your own, however minor it is, that's going to be easier to live with when you're at the end of your life.
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