A Quote by Grace Chatto
Working in Italy can be quite hard because they don't have schedules - we arrive at TV shows and they're like, 'We're not sure when you're on, could be a minute, could be an hour.' We were on their equivalent of 'The Voice' and the timing was determined by whenever the judge decided the time was right. We waited five hours!
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I couldn't take my eyes off of Stan [Lee]! As good as the movie is, all I could think about is, "What's he thinking?" So the movie ended, and then he, very whimsically, expressed all of his feelings about how long he waited, and how the TV shows in the '70s were all, "If only they could do this," and now they could. And he didn't get choked up and blubbery, but he was moved. Like, "Ohmigod, it happened while I was alive." And I can't believe I got to see that. He was very raw. It was quite beautiful.
It's the answer told by lines that stretched around schools and churches in numbers this nation has never seen; by people who waited three hours and four hours, many for the very first time in their lives, because they believed that this time must be different, that their voice could be that difference.
Whenever you're fighting with weapons, there's a level of reality because people don't understand that these are still metal or hard rubber with sharp points - that if the timing's wrong, you could definitely get hurt. There's nothing like working with an actor who doesn't know what they're doing, because you're always in fear of losing an eye.
I'd like to do more TV; TV is completely different than working in movies in a lot of ways, it's like making a really compact movie. Because you don't have as much time, especially hour long shows, they move so quickly.
Facebook could have gone public whenever it wanted. We decided the right time was 2012. It could have easily been 2010 or 2014.
Everything, in the end, comes down to timing. One second, one minute, one hour could make all the difference.
With that incredible voice that he [Alan Rickman] could play like a sort of wonderful instrument, like a cello or something. He played his voice, and he could be the most subtle of actors. And he could also be quite a big actor. He could do the grandiose performances as well.
But for every hour and a half on stage, you have a five hour long bus ride, waiting for five hours at the airport, five hours of interviews... I know, it's part of the job, but that doesn't imply I have to like it.
We have a culture that is indirect in the extreme, where by the time you're five years old, you've watched tons of television, and have been subjected to what I call "the age of interruption," where everything is interrupted every minute. We have constant input from TV, computers, fax machines, telephones, etc. It's very hard for a modern American to have two hours of uninterrupted time. I know how it is because I insist on several hours of uninterrupted time each day, and I know how ruthless I have to be to get it.
There were hard days when you'd be screaming for hours and then the next day, you'd have a scene where you were just talking and because your voice was so stretched out from screaming for five hours, it would sound weird. It required a lot of adrenaline, too, so you have to be able to turn it on all the time. You felt a bit thin at the end of it, just depleted.
I sat there for three hours and did not feel the time or the boredom of our talk and its foolish disconnection. As long as I could hear his voice, I was quite lost, quite blind, quite outside my own self.
The major credit I think Jim and I deserve ... is for selecting the right problem and sticking to it. It's true that by blundering about we stumbled on gold, but the fact remains that we were looking for gold. Both of us had decided, quite independently of each other, that the central problem in molecular biology was the chemical structure of the gene. ... We could not see what the answer was, but we considered it so important that we were determined to think about it long and hard, from any relevant point of view.
I’m going to kill myself. I should go to Paris and jump off the Eiffel Tower. I’ll be dead. you know, in fact, if I get the Concorde, I could be dead three hours earlier, which would be perfect. Or wait a minute. It -- with the time change, I could be alive for six hours in New York but dead three hours in Paris. I could get things done, and I could also be dead.
If I could, I would stop the passage of time. But hour follows on hour, minute on minute, each second robbing me of a morsel of myself for the nothing of tomorrow. I shall never experience this moment again.
To me, the greatest thing in the world is downloading TV shows on iTunes because there are no commercials, and yet if I were a working stiff, I could never afford to do this. But I don't even think about money.
Mo Willems was so helpful. I had met him a number of times, and I knew from his books how funny he was, of course, but it was really neat to be able to have his feedback. He's so great with comic timing. Working with him was like taking a master class in comic timing, because he could pinpoint right away if a section wasn't working. I remember him saying once, "No, you need a beat between this page and this page," and it was like, oh yeah, of course. I hadn't seen it, but being so good at what he does, Mo noticed it right away.
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