A Quote by Frances McDormand
I will go to my grave being known as Marge Gunderson. It'll be on my gravestone if I have one. I don't mind that, because it was a great character.
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It was really fascinating for everyone involved in 'Fargo' that Marge Gunderson became the iconic character she did. I think it was something about the cultural zeitgeist and what was happening with women in the workplace.
If, when I leave this earth, I'm remembered for 'Fargo,' so be it. But I think old Marge Gunderson is gonna get a run for her money with Olive Kittredge.
The fist of a revolutionist must be hard like a gravestone; if not, his own gravestone will soon be erected!
I'm trying to break the stereotypical role now of the Theo-type character because, in my post-'Cosby' life, as I call it, I don't want to be known as just the kind of guy who can play a Theo Huxtable-type character. I want to be known as being able to do more things, being able to stretch.
New York is nearly a grave. The Empire State Building is its gravestone.
The mocker will not have the last laugh. You see, dancing on the grave of an extinguished Christianity is farcical at best. Because the grave is empty. And the one who knows the way out of the grave sits in the heavens and laughs.
But every page having an ample marge, And every marge enclosing in the midst A square of text that looks a little blot.
I'd love to do a play with Ma but I don't know whether that's like literally filling in your own grave and putting the gravestone on top.
You know the known, so go a little into the unknown. The mind that is caught up in the known - extended a little beyond reason. The moment you go beyond , you move in the soul. Releasing the bondage of your mind to extend further, reach the unknown a little more. The further you go, you realize that the known is limited and the unknown is vast.
I don’t mind if the character is a small character, but I would just like her to have a journey in the film. Sometimes the characters are just there as a prop to further the man’s story. The great directors I’ve talked to, I’ve said listen, I don’t mind playing a woman that is a tiny part, but how does the story affect her? What can I play in the end that’s different from the beginning? Otherwise, it doesn’t make sense, because it’s just like being a prop.
All that you are attached to, all that you love, all that you know, someday will be gone. Knowing this, and that the world is your mind which you create, play in, and suffer from, is known as discrimination. Discriminate between the Real and the Unreal, the known is unreal and will come and go so stay with the Unknown, the Unchanging, the Truth.
Where does a character come from? Because a character, at the end of the day, a character will be the combination of the writing of the character, the voicing of the character, the personality of the character, and what the character looks like.
Moods are in the mind and do not matter. Go within, go beyond. Cease being fascinated by the content of your consciousness. When you reach the deep layers of your true being, you will find that the mind's surface-play affects you very little.
The movement of search can only be from the known to the known, and all that the mind can do is to be aware that this movement will never uncover the unknown. Any movement on the part of the known is still within the field of the known.
Playing Marcia was a double-edged sword; it always will be whenever you play a character like that. You will be known as that character forever.
If you're writing a scene for a character with whom you disagree in every way, you still need to show how that character is absolutely justified in his or her own mind, or the scene will come across as being about the author's views rather than about the character's.
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