A Quote by Erika Christensen

The thing about that too is that we had the same extras everyday. It was such a community. It was like a microcosmic little town. We were like all little towns people with extras and a crew.
I don't like DVD extras. No. Especially when they do things like put out alternative endings? I find all of that a little bizarre, because there should only be one ending. I don't like to be told, 'Oh, we could have had it this way,' for the director's cut.
Doing things like 'Extras' and 'Little Britain' keeps me in with the youngsters.
Usually, the extras have a different mentality. I had the mentality of an artist, because I was a 'ballet-rina.' But most extras are out to make a fast buck for nothing. They're 'atmosphere.'
I did a Coca-Cola commercial when I was about two and a half years old, and then me and my family were extras in a bunch of Westerns. I loved dressing up and stepping into this imaginary world, and it was fun to get outside of my tiny little town with a bunch of movie weirdos.
The only airline I avoid like the plague is Ryanair. I don't like that, when you book, there are then all of these little extras to pay for, and you end up paying more than just flying with British Airways.
The difference between the extras here and in France is the French extras read books. Actually, they hide the book and pretend that they're acting. Here, you can see everybody wants his break.
The Kings played out of the Memorial Community Centre, an old wooden barn like you'd see in other Prairie towns. It was built after World War II and the Kings were the biggest thing in town. The Memorial was packed for every game - maybe 3,000 when we'd play the Kenora Muskies or other rival towns. It seemed like everyone in town came out to games.
I talked to everyone about the project: actors and extras, members of the crew and passers by.
The difference between the extras here and in France is the French extras read books. Actually, they hide the book and pretend that they're acting. Here (in Hollywood), you can see everybody wants his break.
I remember my first taste of American big movies was 'Ghost Rider.' I'm in two little scenes. But for those two little scenes they had 400 extras, upside-down stunt cars, and a fire brigade.
When I was a dancer, I would see that dancers were treated like garbage. I mean like, like extras.
When one does not have what one wants, one must want what one has”: “I have had, you see, to resort more and more to very small, almost invisible pleasures, little extras. You've no idea how great one becomes with these little details, it's incredible how one grows.
I prefer to go to the little towns now, because in little towns people are kind. I like going to Tepotzlán.
Two days before I got the audition for 'Extras,' I was offered a theatre role, and I asked my husband, Terry, whether I should take it or not. He said, 'No, wait and see what else comes in.' Lo and behold, along came 'Extras.' Now that was lucky!
I love just seeing shots of New York inside of a fictional movie that are not controlled. I do not like shots with extras, I have to say. I don't mind extras in other scenes, but I love New York City streets just as they look. I don't even care if someone looks at the camera. It doesn't bother me.
My film isn't about Vietnam. It is Vietnam. It's what it was really like. It was crazy. And the way we made it was very much like the way the Americans were in Vietnam. We were in the jungle, there were too many of us, we had access to too much money, too much equipment and little by little we went insane.
This site uses cookies to ensure you get the best experience. More info...
Got it!