A Quote by Francesco Clemente
When you sit for an hour and a half in front of somebody, he or she shows about twenty faces. And so it's this crazy chase of, Which face? Which one is the one?
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Because the mask is your face, the face is a mask, so I'm thinking of the face as a mask because of the way I see faces is coming from an African vision of the mask which is the thing that we carry around with us, it is our presentation, it's our front, it's our face.
When I was doing half-hour shows, I loved it and was preparing myself for the hour shows. Then when I did the hour shows, I was preparing myself for the specials and features.
Very great charm of shadow and light is to be found in the faces of those who sit in the doors of dark houses. The eye of the spectator sees that part of the face which is in shadow lost in the darkness of the house, and that part of the face which is lit draws its brilliancy from the splendour of the sky. From this intensification of light and shade the face gains greatly in relief and beauty by showing the subtlest shadows in the light part and the subtlest lights in the dark part.
To a large extent: it's about economy of space. You have so little real estate when you're writing a half hour show. It's really twenty minutes. So you have to with a pilot introduce all your characters, set up the premise in a way that shows the potential for a series and make it funny and do it all in about thirty-five or forty pages. It's very hard.
We were creating a formula for points racing, and that wasn't good in qualifying for the Chase, and it wasn't good when we got to the Chase. We wanted to change that, and we also wanted to fix a couple things. One of them was that we didn't want to have a bad race or two take somebody out early on in the Chase, which has happened every year.
Almost every organization... exhibits two faces a smiling face which it turns toward its members and a frowning face which it turns to the world outside.
My mom [comes] to see my shows because she's so proud, but I'm talking about losing my virginity, my ex-wife and our sexual problems, and she's sitting in the front row smiling. I just go, "Mom, you can't sit in the front row, you can't smile. You have to go way in the back and dress in black. If I see you it's like you're breaking in when I'm having sex with my wife. It's just wrong."
What's interesting is that some of the things I'm interested in talking about is a story which has to do with the second half of your life, which can be told through Hedwig's voice because she's older. If the timeline is consistent, she's as old as me.
I don't do a lot when I'm in Gascony. I swim and play the odd game of golf, but mainly I sit around. We're set an hour-and-a-half from the Pyrenees and an hour-and-a-half from the Bay of Biscay, so we get plenty of storms. But we're surrounded by vines and sunflowers - it's lovely.
I would hit a scene about my mother screaming at me during her breakdown, drunk or using pills, and she'd turn into a monster. Which she wasn't. She was a human: somebody who loved me and somebody with a problem.
What I recommend is this: after you've talked to everybody, go take a nap! Take a nap. Your body really needs to sleep. It's like washing your face. If you can't afford a three-hour nap, do a one-hour nap. If you can't afford a one-hour nap, do half an hour. If you can't afford half an hour, do fifteen minutes.
I can think of nothing more boring for the American people than to have to sit in their living rooms for a whole half hour looking at my face on their television screens.
People are still crazy about Python after twenty-five years, which I find hard to believe.
My publicist actually told me about the book. She's half-Indian, half-Dutch, and she was like, 'You've got to do this book. It's called 'Crazy Rich Asians.''
I married somebody half my age, and everybody thought I was crazy, but she is just an absolute angel.
When I'm not wearing makeup, when I'm not in front of the camera, I can be just Hrithik. I can sit with my watchman or with the spot boy and chat with him. I do that. Which is why I am able to differentiate between the person I am and the persona that is projected. It's not the person people are crazy about, it's the persona, it's the magic of the movies and you have to understand that.
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