A Quote by Meaghan Rath

It's hard to keep the energy and the emotion of the scene when they're installing a massive green screen behind you. — © Meaghan Rath
It's hard to keep the energy and the emotion of the scene when they're installing a massive green screen behind you.
Green screen, you know, it's been interesting, it's my first time to ever work with green screen technology, and it's, sometimes it can be really boring because you're like wow, I've got to really imagine all of this stuff around me. But it's low maintenance, which is nice, um, and it's not as hard as I thought it would be, so.
Acting with a green screen has been physically challenging. I look at the green screen and then I'll look somewhere else and everything looks red. It's a bizarre thing where green has an effect on my vision, but it's fun.
Green vegetables are something that fascinate chefs; the ability to keep vegetables green. How do we keep them green? What makes them green? Why are they green? And then that sort of army green. Why do they go from bright vibrant electric green to army green, and how can we avoid that?
Just think in terms of green energy and how much time, money, brain power and policy action has started to pour into green energy, and I think that's wonderful. We're going to need that same kind of effort towards global gridlock if we're going to keep the individual mobility that we all take for granted today.
If you give an actor a green screen, the shot may work, but that green screen will not inspire you on the set as a director or as an actor.
On 'Game of Thrones,' we always shoot away from the green screen because it's bloody expensive to shoot green screen.
There are massive clubs with massive amounts of money, and Liverpool were always a little bit behind. But if you create a good team, a good atmosphere, and work hard, you can get there. You can win trophies.
It's hard, the green screen; it's a different way of working.
For 'tis green, green, green, where the ruined towers are gray, And it's green, green, green, all the happy night and day; Green of leaf and green of sod, green of ivy on the wall, And the blessed Irish shamrock with the fairest green of all.
There is only one emotion, one energy, in the universe: the energy, the emotion, that we call Love. When you know this, everything changes.
I did green screen for the first time! I wouldn't like to do a whole movie of green screen, though. You kind of forget the plot a little - like being in a Broadway play and doing it over and over and forgetting your line halfway through.
People can hide behind a screen. No one is going to do it at a match, in front of you, like throw a banana at a black player or something. They are very happy hiding behind a screen and being comfortable.
I mean I think people prepared me for like a lot of green screen [in Oz the Great]. I didn't have a lot of green screen. They build most sets. When this castle was tangible, Emerald City was tangible, the forest, the woods was tangible, the cemetery, everything was there.
Regarding green screen, green screen is really like doing some stage work. You have to make believe that there is a window, make believe that something is there that is really not there and convince the audience. It's part of acting.
You can write ten versions of a scene, and then, on the day, discover that something in the original scene worked. It's hard on writers. Hard on actors, hard on editors, hard on me, hard on the producers, who require patience and confidence. But I can't get to the end without going through this process.
have a much harder time writing stories than novels. I need the expansiveness of a novel and the propulsive energy it provides. When I think about scene - and when I teach scene writing - I'm thinking about questions. What questions are raised by a scene? What questions are answered? What questions persist from scene to scene to scene?
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