A Quote by Fahadh Faasil

Every character, when it comes to a cinematic representation, gets complicated and layered. You are given a lot of dimensions than a single dimension to an individual. That's the main difference between seeing something out of the window and seeing something on screen.
Or, to express this in another way, suggested to me by Professor Suzuki, in connection with seeing into our own nature, poetry is the something that we see, but the seeing and the something are one; without the seeing there is no something, no something, no seeing. There is neither discovery nor creation: only the perfect, indivisible experience.
There's a different experience when you're reading a book rather than when you're seeing something on screen. When you're seeing a movie or TV show, it's a three-dimensional experience you're in the middle of, but when you're reading something, you're suppling the reality with your imagination.
There is a fine line between seeing something that's lost as missing, and seeing it as something that might be found.
I want to give every single character the dimensions and complexity of a main character.
There is an awful lot of difference between reading something and actually seeing it, for you can never tell, till you see it, just how big a liar History is.
I need to create a whole cinematic experience. I think that's what it takes to get the audience to the theater and justify seeing [a movie] on a big screen. You have to give them a cinematic experience.
We have stagnant wages in America. We have stagnant, even declining net worth in this country. That's part of something that's much larger than any single individual. And that is something that is way above my pay grade, to be able to deal with, but it's something I deal with on a daily basis. All my life, from the time that I was very small, my feeling was always, that there's a moral dimension to life. And it's not the moralistic dimension to life, that we often hear about, that's rather church-y or whatever.
More often than not, you find players seeing something that they can help another player with or reinforce something the coaches are seeing. Veterans do that regularly with younger players.
Isn't it supposed to be like this?" He smiled. "The glory of first love, and all that. It's incredible, isn't it, the difference between reading about something, seeing it in the pictures, and experiencing it?" "Very different," I agreed. "More forceful than I'd imagined.
Working on an essay versus a novel is like the difference between seeing to that curtain and seeing to New Jersey.
I love the idea of seeing a character - I mean, there's nothing like seeing a character and having the huge detail and roundness that a character in a book can give you. It's so much more full than a character in a script can give you, isn't it?
I like taking my leads from what I see rather than trying to impose. I like that way of looking at things and seeing what's on screen and seeing how I can draw music out of it almost.
Far too many people, especially within evangelicalism, think that the individual is all that matters, and that the corporate dimension is a distraction or diversion. Of course Christianity is deeply personal for every single Christian; nobody gets lost in the kingdom of God. But you can't play that off against the corporate dimension.
I start listening to something, or I'm seeing somebody a lot or seeing their art. And then I just really want to make a picture of them.
If the audience gets everything, if they see the photography and notice that it is good, then the story goes out the window, but if you become involved with the lives of the actors and forget that you are seeing mechanical devices on a huge screen - forget the make-believe - this is the job of the director to involve the audience with the actors.
Every time I go to the theater, there's something about the atmosphere, seeing something unfold live in front of an audience, that you can't get out of your system.
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