A Quote by Glynis Johns

I would sooner play in a good British picture than in the majority of American pictures I have seen. — © Glynis Johns
I would sooner play in a good British picture than in the majority of American pictures I have seen.
I never know if my picture is a good picture or a bad picture, because I'm not making pictures thinking of the public, I'm making pictures to realize myself.
I've seen inside fans' houses, and they would have pictures of Jesus on the wall, and next to it would be a picture of The Rock 'n' Roll Express. That's no lie.
The most foreign fighters in Iraq are wearing British and American uniforms. The level of self-delusion is bordering frankly on the racist. The vast majority of the people of Iraq are against the occupation of Iraq by the American and British forces.
The basic policy of the British Government was that since the majority of people in Northern Ireland wished to remain in the United Kingdom, that was that. We asked what would happen if the majority wanted something else, if the majority wanted to see Irish unity.
Since I switched to an iPhone, I did start taking pictures of people I like. Until then, I strangely never took pictures. I think the iPhone became this space that was different enough from a "photograph," so I find myself taking pictures of daily things. If someone I dated asked me to take their picture, I would most likely find it disturbing. Perhaps nude pictures would be fun. But that would have to be on an iPhone.
We'd play the American bases and found all these wonderful records by Elvis, Jerry Lee Lewis, Fats Domino, Sam Cooke. Without American music, there would not have been a British Invasion.
Moral good is a practical stimulus; it is no sooner seen than it inspires an impulse to practice.
Most of the time the ones who dislike the pictures the most confirm to me that the picture has hit home and is probably truer than I know. Nobody minds a boring picture, they mind a picture that has gotten to the soft core.
From the American Revolution right up to the Second World War, the U.S. was more likely to provoke suspicion among members of the British establishment than deferential approval. It was seen - with good cause - not just as a potential rival for empire, but also as dangerously egalitarian, worryingly innovatory, and excessively democratic.
He asked me whether I had seen the movie 'The Color Purple.' I said no she hadn't. And Bobby said, 'Well, it's a terrible picture. They don't make good, decent, moral pictures nowadays.'
The American motion picture is the greatest unconscious carrier of propaganda in the world today. It is a great distributor for ideas and opinions. The motion picture can standardize the ideas and habits of a nation. Because pictures are made to meet market demands, they reflect, emphasize and even exaggerate broad popular tendencies, rather than stimulate new ideas and opinions. The motion picture avails itself only of ideas and facts which are in vogue. As the newspaper seeks to purvey news, it seeks to purvey entertainment.
The pictures are created by the listener, with a little help from the broadcaster. The pictures are perfect. If you're showing pictures, different things in that picture can distract from the spoken word.
I know Im British. I havent spent much time in the U.K., but my parents are British, my family heritage is British, so if I wasnt British, what would I be? I am British.
We talk about the American way, the British way. If we had any sense, we would know that there is no American way, no British way. There is only one way - the scientific way that cuts across racial lines with international boundaries.
I know I'm British. I haven't spent much time in the U.K., but my parents are British, my family heritage is British, so if I wasn't British, what would I be? I am British.
To an ever greater extent out experience is governed by pictures, pictures in newspapers and magazines, on television and in the cinema. Next to these pictures firsthand experience begins to retreat, to seem more and more trivial. While it once seemed that pictures had the function of interpreting reality, it now seems they have usurped it. It therefore becomes imperative to understand the picture itself, not in order to uncover a lost reality, but to determine how a picture becomes a signifying structure of its own accord.
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