A Quote by Leslie Mann

Child actors don't have great track records. — © Leslie Mann
Child actors don't have great track records.
The great thing was that both K-Ci and JoJo told me to not make an R&B track that was reminiscent of radio hit records. 'Make a Gang Starr track and we'll write our lyrics to that,' they told me. They couldn't stress it enough.
It's very hard to find a good child actor. There are a lot of child actors out there, especially in America, and they're cute kids, but most child actors appear on sitcoms where their main role is to be cute and make funny little remarks.
There are some actors that are great stars and storytellers, but not necessarily good actors. I'm talking about some - not all - of the people you see in action flms or blockbusters. They're film stars, though not necessarily great actors. And there are those who are great actors, but not necessarily big film stars. Jim Sturgess is both. He's quite obviously a star, the audience likes him, he's a great storyteller and he turned out to be one of the greatest actors I've worked with as well.
I did volleyball, basketball, and track all through high school. And then I went to junior college and I stuck with track because I was good at shot put and discus. And then I got a full ride to Fresno State for their track program. Shot put was my main thing. I was the five-time All-American, and I set a couple records.
AMC has a track record for finding actors who have been working actors but not names yet and casting them.
I was running track early in my years and I was breaking track records in sprint running. I was training and I wanted to be in the Olympics. I thought I was going to be able to win a gold medal, and my mind was pretty much set on 'this is what I want to do'.
What do actors really want? To be great actors? Yes, but you can't buy talent, so it's best to leave the word 'great' out of it. I think to be believed, onstage or onscreen, is the one hope that all actors share.
People think it is all about country music, and I know a lot of country music has come out of there, but like Blonde on Blonde by Bob Dillon was recorded there. A lot of great records; R&B records, jazz records. It's a lot of great players and great studios.
I'll say it, I love working with actors, I'm a fan of actors. They bring so much, and they can also break a movie, but when it works I give it all to the actors. I'll say it, I think that 'The Transporter' is great not because of my direction, it really is great because Jason Statham was great in it.
My dad would play me all of these records: Miles Davis records, John Coltrane records, Bill Evans records, a lot of jazz records. My first exposure to music was listening to jazz records.
I don't have a great instrument. I don't have the kind of ungodly control over my voice and body that great actors have. And I've worked with enough great actors to know that I'm not one.
I've put out records over the years, whether it's with Blackfield or No-Man or Bass Communion or Porcupine Tree, that are pop records, ambient records, metal records, singer-songwriter records.
The number of managers with great track records in a given market depends far more on the number of people who started in the investment business (in place of going to dental school), rather than on their ability to produce profits.
There are actors that are really fine actors but not good auditioners. There are really good auditioners that may not be great actors. There are great actors that are really good auditioners, too. I happen to be someone who's not a great auditioner, but usually on a set can hold my own.
As Anna Freud remarked, the toddler who wanders off into some other aisle, feels lost, and screams anxiously for his mother neversays "I got lost," but accusingly says "You lost me!" It is a rare mother who agrees that she lost him! she expects her child to stay with her; in her experience it is the child who has lost track of the mother, while in the child's experience it is the mother who has lost track of him. Each view is entirely correct from the perspective of the individual who holds it .
The micro-compositions are the pieces themselves, but the macro-composition is the whole set of them and how it moves from track to track and how the titles relate to one another, for example. Always when I do records like this of a selection of instrumental pieces - the titles, to me, are very important.
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