A Quote by Mia Wasikowska
When I got onto set with him we were given a folder of storyboards. I thought that was pretty incredible because I hadn't worked with anybody who used storyboards before so he obviously had a very precise way as to how he visualized the film from the very beginning. It was every scene, but to his credit he was incredibly collaborative and gave us many opportunities to have our own input and to change things with him, so it was a really great way of working.
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I actually think storyboards are great. I don't draw well enough to do them myself. I've only used storyboards a couple of times. We used two storyboards in 'Margaret': one for the bus accident and for the opera sequence at the end.
I actually think storyboards are great. I don't draw well enough to do them myself. I've only used storyboards a couple of times.
The Coen brothers: Of all the directors I've worked with, they're the only ones who have given me the storyboards attached to the script. It was very cool for me, because I knew when I was in close-up or if it was far away, and it also made me know that anything that happened in the edit wasn't personal. Because they edit their own movies, so they were editing it as they went.
On Fantastic Mr. Fox, I got used to working with animated storyboards as a way of planning for the shoot. We did a lot of sequences that way with this movie. Partly as a result of that, I decided to build more sets in order to do certain shots.
I like actors who just become that person and then react, and Adam [Driver] is completely reactive in that way. So every day working with him was really a pleasure. And he's in almost every scene in the film, so the poor guy had to work the - almost the entire 30 days of our film shoot. But, yeah, he was really a pleasure, and I really love what he - how he embodied this character.
Remember I came to Albuquerque to do a hair and makeup test and wardrobe fitting; you guys were already shooting. It's tough when the movie's already started and you kind of show up. You're the new kid on the block. I walked onto the set and Tommy [Lee Jones] was about to do the scene. I just kind of walked up to him. I was shaking, but I just gave him this big hug and he just had nothing to say. He was like, 'Gotta go to work now.' I had a great time working with him."
We had a great connection with Pedro Almodovar from the beginning. Even before I met him, it was so strange. I felt like I already knew him. I loved him even before I met him. It was so powerful. And when I looked at him in the eyes, this was the feeling that I knew I was going to have with him. It gets bigger and bigger every day. I adore him. It's much more than working together. He's a really special person in my life.
Diamond, however, had not been out so late before in all his life, and things looked so strange about him! - just as if he had got into Fairyland, of which he knew quite as much as anybody;
for his mother had no money to buy books to set him wrong on the subject.
I did several shows with Jimi Hendrix, that's when I got to know him better, I knew of him, I met him [when he was playing] with Little Richard... And he was kind of quiet, shy, he didn't open up too much, but there were questions as we all ask each other. You know, "how do you do this" and "why do you do that..." We had very small discussions on things like that. And he was very polite, I thought [he was] a very nice guy.
I loved working with him [Justin Chadwick]. He was very smart in how he assembled the people around him and had a crew that he knew very well. He was very comfortable on the set and I never felt that I was working with a first-time filmmaker.
[John Hurt] just really gifted, and I had a great time working with him and [am] very lucky to have worked with him.
How easily we make things as way, truth, and life. Or, we call hot atmosphere as life, we label clear thought as life. We consider strong emotion or outward conduct as life. In reality, though, these are not life. We ought to realize that only the Lord is life. Christ is our life. And it is the Lord who lives out this life in us. Let us ask Him to deliver us from the many external and fragmentary affairs that we may touch only Him. May we see the Lord in all things-way, truth, and life are all found in knowing Him. May we really meet the Son of God and let Him live in us. Amen.
People talk about Frank Sinatra all the time - and they should talk about Frank - but he had the greatest arrangers. They worked for him in a different kind of way than they worked for other people. They gave him arrangements that are just sublime on every level. And he, of course, could match that because he had this ability to get inside of the song in a sort of a conversational way. Frank sang to you, not at you, like so many pop singers today. Even singers of standards.
I know that God loves us. He allows us to exercise our moral agency even when we misuse it. He permits us to make our own decisions. Christ cannot help us if we do not trust Him; He cannot teach us if we do not serve Him. He will not force us to do what's right, but He will show us the way only when we decide to serve Him. Certainly, for us to serve in His kingdom, Christ requires that we experience a change of thought and attitude.
We have had a good working relationship. He has got a tough job. We had different ideas sometimes and we got on pretty well. I have challenged him and he has challenged me. His form has been up and down and that can be tough. I suppose we've been lucky. Sourav and I complement each other. We are two different personalities. He is softer than me. I probably spoke my mind in the change rooms in a rougher way than him. Sourav and I formed an odd couple but it seems to have worked.
Every day, every scene, you were like, "My god. I'm doing a scene with Brian Cox today and then I'm onto a scene with Stephen Rea." For us young actors, I think we were all very, very star-struck and impressed by the caliber of everyone who came out.
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