A Quote by Krysten Ritter

When you go to Marvel, they lock you in a room with the scripts; they really are that secretive. — © Krysten Ritter
When you go to Marvel, they lock you in a room with the scripts; they really are that secretive.
I got this secretive, very secretive email from my agent saying, 'You have an audition for Marvel, no one's letting us know what the name of the film is, but are you available on this day? That's all we know.' And I went, 'OK, well, I think it will probably be 'Thor,' because Taika's got it.'
Marvel's very secretive, and I'm not hiding anything, I'm not lying; it's just the way they are.
It can't really happen today the way it did back then and part of that is because I think there's a bit of a competitive scare over at Marvel and DC so they lock guys up with exclusive contracts.
I will say that Marvel is 100 times more secretive than 'Game of Thrones.' Like, they're not even on the same playing field.
The scripts of 'The Wire' are fantastic - the scripts of 'Breaking Bad,' the scripts of 'Mad Men,' the scripts of 'The Sopranos,' the scripts of 'Battlestar Galactica.' You could keep going on. They're incredibly well written.
Usually when I'm painting something it takes a lot of focus. I have the room I go into called the white room. In my imagination when I'm really focused I go into that white room and all that's there is me, my painting, and my tools. There's no distraction. When I'm really concentrated I like to have it silent but when I'm doing something that doesn't have to be necessarily perfect, I can just go for it.
I still love Marvel to death and I had a great experience, and it was a really tough decision to leave Marvel. It was a very easy decision to come to DC; it was very difficult to leave Marvel. And I really wanted to draw Batman, and really, that was entirely the discussion when it came to coming to DC.
My grandmother and I would go see movies, and we'd come back to the apartment - we had a one-room apartment in Hollywood - and I would kind of lock myself in this little dressing room area with a cracked mirror on the door and act out what I had just seen.
If I were to take five comic books, from four different publishers and Marvel, and lay them out, even if you didn't know the characters, you would be able to take a look at that Marvel comic and go, 'That's Marvel.' There's something unique about the way the story is presented.
People are always asking me for pictures, signing autographs, everywhere I go. Before, it used to irritate me, but I've learned to handle the situation. I cannot run away unless I lock myself in my room and never go out.
I often find out, once people have trained, you can never really re-train. When you get trained, you learn to lock up; you learn a wrist lock and, okay, onto the next thing, onto the next thing. You never really go back to the fundamentals.
Every president thinks that all information that comes to the White House is their private preserve after they all promise an open administration on the campaign trail, but some are more secretive than others. Some want to lock down everything.
Lock yourself up in your room or go out in the woods where you an be alone. When you are alone the universe talks to you in flashes of inspiration.
Playing a room, it's a real dictator-type situation - you can really move the crowd the way you want to. In a festival, there's a sea of people, and it's harder to lock in on any one group.
When Jack Swagger copies my Ankle Lock and Randy Orton does my Angle Slam, it's disrespectful. I didn't come up with the Ankle Lock; Ken Shamrock came up with the Ankle Lock, but I waited until he retired to do the Ankle Lock.
I've got a room full of scripts. They go to the ceiling. I can't even hardly walk into it anymore. Most are original, and there are some adaptations like 'Man's Fate.'
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