A Quote by Michael Sheen

We see death constantly on film. — © Michael Sheen
We see death constantly on film.

Quote Topics

Film is more than the twentieth-century art. It's another part of the twentieth-century mind. It's the world seen from inside. We've come to a certain point in the history of film. If a thing can be filmed, the film is implied in the thing itself. This is where we are. The twentieth century is on film. You have to ask yourself if there's anything about us more important than the fact that we're constantly on film, constantly watching ourselves.
I like being able to see an innocence in people. I see a lot of beauty in youth. Young people are in progress. Their faces and bodies and minds are constantly changing. It's exciting to capture that on film.
The accomplishments in college and even in the pros are more in my mind because you constantly see Duke on TV during basketball season. You constantly see the NBA.
I'm very troubled when editors oblige their film critics to read the novel before they see the film. Reading the book right before you see the film will almost certainly ruin the film for you.
If I were constantly worried about death, I couldn't function. After a while, if your life is more or less constantly in peril, you come to a point where you accept the possibility philosophically.
You know what? As a black person, you see so much racism. Films are no different than the government, politics - it's everywhere. It's not exclusively film. It's infuriating to see it in film. But my being in film changes things.
Beauty consists of its own passing, just as we reach for it. It’s the ephemeral configuration of things in the moment, when you see both their beauty and their death. ...Does this mean that this is how we must live our lives? Constantly poised between beauty and death, between movement and its disappearance? Maybe that’s what being alive is all about: so we can track down those moments that are dying.
With a film, things constantly have to go up in the story, and you're constantly putting pressure on the main character. It allows to go really deep into what its relationship is.
On a film, I was always acting. I was either changing my clothes really quickly and wiping off the lipstick and putting on the other lipstick and then working constantly, constantly.
I'm accused constantly of having 'no signature.' That's the big artistic demerit. You can't tell a Wyler film from another man's film just by looking at it.
Birth leads to death, death precedes birth. So if you want to see life as it really is, it is rounded on both the sides by death. Death is the beginning and death is again the end, and life is just the illusion in between. You feel alive between two deaths; the passage joining one death to another you call life. Buddha says this is not life. This life is dukkha - misery. This life is death.
What is earthly happiness? that phantom of which we hear so much, and see so little; whose promises are constantly given and constantly broken, but as constantly believed; that cheats us with the sound instead of the substance, and with the blossom instead of the fruit. Like Juno, she is a goddess in pursuit, but a cloud in possession.
I didn't just see myself as a film director here [in Life And Nothing More], but also as an observer of people who had been condemned to death.
Everybody here is so caught up in the game of life they don't see death. They don't see beyond their deaths. They are on the wheel of birth and death.
The poet does not fear death, not because he believes in the fantasy of heroes, but because death constantly visits his thoughts and is thus an image of a serene dialogue.
NYU Film School was the way to learn about film, to be exposed to film, to go to repertory houses, to be exposed to New York and see films. I would go to the library and see one, two or three movies a day.
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