A Quote by Lauren Ash

I wanted to play Dina. I was my managers most annoying client as I kept saying that I needed to get this part. — © Lauren Ash
I wanted to play Dina. I was my managers most annoying client as I kept saying that I needed to get this part.
I've never had a problem with a dumb client. There is no such thing as a bad client. Part of our job is to do good work and get the client to accept it.
When my brother was a child, he kept telling my mom he wanted to be in the box. She didn't get it - he was two or three years old and kept saying he wanted to be in the box. She finally realized he was talking about the television.
I remember that when I was learning to play football, kicking a ball for example, I used to do it 300-400 times a day at least. There were moments when I got tired but I needed to do it repeatedly because if I wanted it to become a part of me, this was the process I needed to go through.
I'd heard stories about business managers who lost their client's money. My feeling was that if I made any money, I wanted to lose it myself, to be the author of my own demise.
I grew up in a lot of stage managers' booths, memorizing the lines. I'm sure I was the most annoying child in existence.
I never wanted to get a job of musician. That was kind of my thing. I came from somewhat of a musical family. I had an uncle on Broadway. My dad kind of knows how to play instruments. Although, I always find it annoying when he does play an instrument.
So it is that we can seldom help anybody. Either we don't know what part to give or maybe we don't like to give any part of ourselves. Then, more often than not, the part that is needed is not wanted. And even more often, we do not have the part that is needed.
'Ruined' was a play which was somewhat of an anomaly in that I did not take a commission until it was finished because I really wanted to explore the subject matter unencumbered. Otherwise, I felt as though I'd have the voice of dramaturges and literary managers saying, 'This is great, but we'll never be able to produce it.'
An interesting difference between new and experienced stage managers is that the new stage manager thinks of running the show as the most difficult and most demanding part of the job, whereas the experienced stage manager thinks of it as the most relaxing part. Perhaps the reason is that experienced stage managers have built up work habits that make then so thoroughly prepared for the production phase that they [can] sit back during performances to watch that preparation pay off.
Verne's all about what you can do versus what you can't do. He just kept saying yes and his part kept growing. I would love to work with him in every movie.
I'm not saying I wouldn't play a seven-string. It's just that I've never needed one. Most dudes who play seven-strings don't sound any different than someone playing a six-string that's tuned down.
Actually way back when Abhishek and I were just co-actors, I kept telling him 'let's be a part of a troupe and go on a world tour'. And he kept on saying 'It's not the right time'. But I never thought that my wish will be fulfilled in such a grand way and that we will be part of the team as man and wife.
I knew I wanted to be an actor. I just kept saying, "Until somebody tells me to stop, until I have to go get a real job, and until I'm practically homeless, I'm not gonna get one."
Trying to speak English, to learn what my teammates were saying, to learn what I wanted to say - basketball, you have to learn the way to play here and get used to your teammates, but for me the toughest part was communication.
Drax isn't your average stereotypical soldier/warrior/musclehead. He actually has some depth. It was a character that I wanted to play, not only because I love acting so much, but also, I needed to play to get people to actually take me seriously as an actor and get away from the pro wrestling label.
It's like creating an artificial loop saying, 'You didn't play the game the way I wanted you to play, so now you're punished and you're going to come back and play it again until you do what I want you to do.' In an action game, I can get that – why not? It's all about skills. But in a story-driven experience it doesn't make any sense.
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