A Quote by Oliver Reed
There is, of course, a world of difference between cricket and the movie business ... I suppose doing a love scene with Racquel Welch roughly corresponds to scoring a century be fore lunch.
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The difference between a score in the 90s and a century is often reflected as the difference between failure and success. It may be illogical, but in cricket, a century has its own magic.
I've begun to believe more and more that movies are all about transitions, that the key to making good movies is to pay attention to the transition between scenes. And not just how you get from one scene to the next, but where you leave a scene and where you come into a new scene. Those are some of the most important decisions that you make. It can be the difference between a movie that works and a movie that doesn't.
Rome is magic, it's like being in Hollywood. But the difference between Hollywood and Rome is that here you don't have just the movie business. The movie business is so little, so you also have the choice to hang out with people who do different kinds of business.
A transference neurosis corresponds to a conflict between ego and id, a narcissistic neurosis corresponds to that between between ego and super-ego, and a psychosis to that between ego and outer world.
To have a Welch-caliber C.E.O. is impressive.To have a century of Welch-Caliber C.E.O.'s all grown from the inside - well, that is one key reason why G.E. is a visionary company.
Mothers know the difference between a broth and a consommé. And the difference between damask and chintz. And the difference between vinyl and Naugahyde. And the difference between a house and a home. And the difference between a romantic and a stalker. And the difference between a rock and a hard place.
The difference between first-class cricket and international cricket isn't skill, it's attitude and the way you go about things.
But there is nothing idealized or romantic about the difference between a society whose arrangements roughly serve all its citizens (something otherwise known as social justice) and one whose institutions have been converted into a stupendous fraud. That can be the difference between democracy and plutocracy.
Of course, having a lack of emotions saves you from doing a big crying scene in the movie or something. I would try to remove myself from any situation before a scene or something like that, and just sit and think about absolutely nothing.
I really like the Chris-R scene and of course the "you are tearing me apart Lisa" scene. The reason I love the Chris-R scene is because we worked really hard to finish it. It's not just that though, it brings people together. Everyone is one the roof together by the end of the scene. You see the perspectives of the different characters. I feel like with all the connections in this scene that the room connects the entire world
It doesn't matter if you're doing a studio movie or you're doing an independent movie. When you get to set and you're doing a scene, it's always going to be the same job.
The law of correspondence says your outer world is a mirror of your inner world. Your outer world corresponds to your inner world. Your outer world of your relationships-especially with your children and spouse-simply corresponds to how you feel about yourself, how you're doing
It doesn't matter if you're doing a studio movie or you're doing an independent movie. When you get to set and you're doing a scene, it's always going to be the same job. I really don't think about my career, in terms of planning it out and what this does for me.
Lee Marvin was there at the same time, and I knew obviously it was his movie [Emperor Of The North], and Ernie Borgnine was playing the other part in the movie.I met Marvin there at wardrobe, and he said, "What are you doing for lunch?" I said, "Nothing." He said, "C'mon with me!" And he took me to the commissary. I walked into the commissary with Lee Marvin at 20th Century Fox, and he introduced me to people. He said, "This's Keith Carradine. We're doin' this movie together." He was so cool. I mean, my God.
I'm, like, y'know, I didn't have a problem doing one scene in Dude, Where's My Car? I'm certainly not going to have a problem doing one scene in a [Martin] Scorsese movie!
The difference between the Parthenon and the World Trade Center, between a French wine glass and a German beer mug, between Bach and John Philip Sousa, between Sophocles and Shakespeare, between a bicycle and a horse, though explicable by historical moment, necessity, and destiny, is before all a difference of imagination.
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