A Quote by Laura Amy Schlitz
As an author, you think you know where the good parts and the bad parts are. And then you read to a group of children, and you learn when you're boring them, and you hurry through those sections to get to the parts where they're interested again. You start to get a sense of your story's rhythm and flow.
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You can't just skip the boring parts." "Of course I can skip the boring parts." "How do you know they're boring if you don't read them?" "I can tell." "Then you can't say you've read the whole play." "I think I can live a happy life, Meryl Lee, even if I don't read the boring parts of The Tragedy of Hamlet, Prince of Denmark." "Who knows?" she said. "Maybe you can't.
Most programming languages contain good parts and bad parts. I discovered that I could be better programmer by using only the good parts and avoiding the bad parts.
Any experience you have, there are good parts of it and bad parts, and you have to learn from the bad parts and the mistakes that you've made.
Ingenue parts are plentiful. And once you get old, they'll start hiring you again for character parts. But the middle years are tough.
You can do bad parts in good pictures or good parts in bad pictures and maybe get a little personal satisfaction. But the key to it all is good parts in good pictures.
I think you get the parts that people are comfortable with seeing you play. I get that. And I don't shy away from those parts.
It's true that old actors don't die, their parts get smaller. You're less likely to get the part, many parts, if you're playing people your age as opposed to people who are younger. There are fewer parts around.
We all have them, those parts of us that are the greatest parts of us and the worst parts of us. Sometimes we're put in circumstances and bad choices are made.
I remember going to him (Richard England) and saying, “You know, how come you don't give me any parts?” I did Raymonda and a couple of other nice parts, but mostly he was giving a lot of parts to the other girls. He said, “Those girls are short and they're not going to get into ABT, but I think you are going to get into ABT. I think you're going dance later, so I'm not worried about you.”
It is not easy to get parts in mainstream films for most people of color. Hollywood and British writers are not writing parts for us, or the directors are not interested in casting us in parts that are color-blind.
I think there are two sides of the coin. On one hand, it can be challenging to access different parts of yourself, and you kind of have to put yourself back into reality when you're done with the job. But I think it's also really cool to have the ability to try on being different people and to explore some parts of yourself because you get to know yourself better. You get to know parts of yourself that you haven't met before. I think that's something that I've been learning more recently.
Good parts should always scare you a little bit, and good parts... you might not get advice to do them.
There are good parts and bad parts and middle parts about everybody. So what I would like to be known as is someone who was true to himself and passionate about the game.
I had a really regular progression--and this is really pleasant, I think--because I had small parts in TV movies, then bigger parts in TV movies, and then small parts in films. And I think this allows you to get...experience of the set and to get familiar with [the process]. And as I had a really slow progression, I think it really helped me to stay lucid and not get carried away.
I had a niche. And my niche was that I was brown. So it's like, 'Great, I get to go up for all these 'brown parts.'' I call them 'brown parts' because that's what they are. That's not to be resentful, because I loved playing those parts - I got to meet so many cool actors.
There's a universal inside of me. So if I tell my story, you're going to see parts of your story in it. I don't know which parts, but we all overlap. We're all very much alike.
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