A Quote by Marisa Tomei
You have your structure, but within it, it gets fuller and you can highlight other parts of the performance.
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Within a social structure, a familial structure, or a cultural structure of various kinds, there is a substitute for actual freedom. I mean, actual freedom is a very abstract notion; we have no idea what it means, except within a context - freedom to do what? So within these social structures, freedom becomes defined as power, your ability to make choices, and the power relationship within a family, any family.
If the structure that serves as a template (the gene or virus molecule) consists of, say, two parts, which are themselves complementary In structure, then each of these parts can serve as the mould for the production of a replica of the other part, and the complex of two complementary parts thus can serve as the mould for the production of duplicates of itself.
Karma is like the vine that gathers strength through uninterrupted years, and which fastens its tendrils so closely that it is as strong as the structure to which it adheres. There is no way to destroy its power except by the separation of the parts, these parts renew themselves in other forms of life, but the structure is freed when its root is destroyed.
Branches or types are characterized by the plan of their structure,
Classes, by the manner in which that plan is executed, as far as ways and means are concerned,
Orders, by the degrees of complication of that structure,
Families, by their form, as far as determined by structure,
Genera, by the details of the execution in special parts, and
Species, by the relations of individuals to one another and to the world in which they live, as well as by the proportions of their parts, their ornamentation, etc.
BEAUTY will result from the form and correspondence of the whole, with respect to the several parts, of the parts with regard to each other, and of these again to the whole; that the structure may appear an entire and compleat body, wherein each member agrees with the other, and all necessary to compose what you intend to form.
It's funny when you know you're playing two characters and you're aware of how you have to play each one into your performance of the other. You're constantly at the back of your mind thinking and it all gets a bit confusing.
A design may be called organic when there is an harmonious organization of the parts within the whole, according to structure, material, and purpose. Within this definition there can be no vain ornamentation or superfluity, but the part of beauty is nonetheless great-in ideal choice of material, in visual refinement, and in the rational elegance of things intended for use.
I went to drama school so I had quite a regimented classical training, regimented process of analyzing a script. I'll go through the whole script and highlight everything my character says about me, and in another color I'll highlight what other characters say about me, and I'll highlight all the things I say about other characters.
First of all, Sam Fuller left a group of extraordinary movies that are unique, that are "Fuller-esque," as one might say, which makes them stand apart from any other director's films.
If you go too small, you can't get the performance you need out of the small little parts. And if you go too big, the puppet gets difficult to move, because it's too heavy, and there's too much material, and it becomes this exercise in just moving these massive parts around. So there is a natural scale that makes sense for stop-motion.
The brain seems to be made up of a bewildering complexity of parts, and the cells within the parts seem to be characterized by an inscrutable complexity of form, extent, and relationships with each other.
Depending on your figure, you may use clothes and colours to highlight your assets or otherwise. Darker shades always make you look slimmer while bright colours or prints can highlight your figure. Using colours to enhance your look is the easiest and smartest way to play with your figure.
In theater, you're in charge of your performance, and at the end of the day you're the one who gets credit because you're in front of the audience doing it, and in film and TV it's the director who gets to decide when to cut to you on a line, which take he uses.
There's a difference in how I feel when I'm travelling and when I'm sitting still. I've been doing it for such a long time it has become a part of my life. It gets a bit hectic depending on where I am, you know, like there's different parts of the world that's more stimulating than other parts.
Water, earth, air, fire, and the other parts of this structure of mine are no more instruments of your life than instruments of your death. Why do you fear your last day? It contributes no more to your death than each of the others. The last step does not cause the fatigue, but reveals it. All days travel toward death, the last one reaches it.
There is something within our biological structure that screams out and says it is morally wrong for the old to outlive the young. This is one of the times when God doesn’t seem to make sense. This is the worst that life gets.
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