A Quote by Lucy Deakins
My character Milly in 'The Boy Who Could Fly' was a very strong part. There were dramatic moments, and there were humorous moments, too. The whole story with Eric Underwood's character was just wonderful, and the messages behind the script were very important to me.
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I won an award when I was 15 and my mum and dad were very proud and so was I but for me, individual things like that aren't as significant as I have been part of so much and there were weeks and months of hard work building up to those pinnacle moments and they can be full of moments of pride.
I love to play humorous moments in dramatic shows. That's always the most fun: to keep the logic of the character in a show that's basically action-adventure and then play the comedy moments.
I think in the early part of my career, the roles were so disparate that it never gave anybody an opportunity to understand my essence and what I would be good at doing, as opposed to what I would not be good at doing, so these little moments of beautiful things that were happening to me were consistent, but very few and very far between.
This is reverent. This is Star Wars, damn it. You don't screw around with it. The things that were improv'd or added that developed on set weren't huge departures as far as storyline or anything like that goes. They just were clarifications in character or, at the best moments, they spoke to the moment in the story in a way that, at least with Kaytoo, tended to be funny.
Our Lord's miracles were all essential parts of His one consistent life. They were wrought as evidences not only of His power, but of His mercy. They were throughout moral in their character, and spiritual in the ends contemplated by them. They were in fact embodiments of His whole character; exemplars of His whole teaching, emblems of His whole mission.
'Fringe' is essentially a love story, so the scenes where Walter had close connection with Peter, but also with Anna's character or Jasika's character, were very special to me.
In terms of moments that pushed me toward becoming a writer... My parents, my wife, and my English teacher in the 8th grade were all hugely supportive at moments during my development as a writer that were critical, where I might have quit when things got too hard.
I think of House as a deeply moral character, though some would no doubt argue with me. He does not judge. Beyond his normal tetchiness, there were no more than a half-dozen moments of actual condemnation from him. He understood lies and also why you lied, and there was an absolution there that is very, very appealing.
There were wonderful moments when I was singing for the first time in the Olympia Theatre and I was pregnant with my son, which was very, very strange for a singer.
People who were also traders were also men of Sufism, as we see around Java, people who were outwardly trading but were also men of very high spiritual character. Otherwise no trader would be able to convert a person from one religion to another. It was because they were men of spiritual character.
I would like to have opportunities in my career to do parts that people would remember - either the whole character or certain moments that they personally could really connect to or were really affected by it deeply.
There were moments in 'Malala,' I felt very moved by the storytelling, and 'pleased' would be the wrong word, but the music could be part of what moved me: that I was trying to contribute to something that was meaningful outside the realm of creative work but just more in terms of the world.
Friendship is very important to me. With some friends, we've known each other since we were kids and it's a very strong relationship. They always tell me what they think even when I am wrong. It's great to share with them the best moments. I also have many friends in the team, and I like to share my passion with them.
The "magic if" is a tool invented by Stanislavski, the father of acting craft, is to help an actor make appropriate choices. Essentially, the "magic if" refers to the answer to the question, "What would I do if I were this character in this situation?" Note that the question is not "What would I do if I were in this situation?" What you would do may be very different from what the character would do. Your job, based on your analysis of the script, the scene, and the given circumstances regarding the who of your character, is to decide what he or she would do.
As much as most of the actors were kind of curious to know what their character meant in relation to the script and to the plot, they really were quite happy to be part of the adventure of not knowing.
I realized, "Gee, you're making the same film over and over here." I just kept making them for my own amusement, but also with this thought in my head that I could collect enough songs to make an album out of it. I am attracted to non-dramatic moments in life. The idea of a coffee break is not something you'd think of as being an important part of your day, so these shorts were like little free zones in which we could just play around.
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