A Quote by Ophelia Lovibond

You're sent scripts, and for some, as soon as you start reading them, you feel an instant connection to the character. You know who they are, you know how to play them, and there is instant enthusiasm. Then, at the audition, you don't have nerves because of that natural affinity.
There sure are a lot of these 'instant' products on the market. Instant coffee, instant tea, instant pudding, instant cereal... instant dislike.
What is an "instant" death anyway? How long is an instant? Is it one second? Ten? The pain of those seconds must have been awful as her heart burst and her lungs collapsed and there was no air and no blood to her brain and only raw panic. What the hell is instant? Nothing is instant. Instant rice takes five minutes, instant pudding an hour. I doubt that an instant of blinding pain feels particularly instantaneous.
What I know is the characters in a Southern town. I know the cadence of the language and the voice of Atlanta because I've lived here for so long. And I know the neighborhoods, and I hopefully know the people, and I feel a connection to them. And I also feel like I'm honoring them when I talk about them.
In this modern day and age, we have instant coffee, instant tea - instant disbelief. That's the reason we will never become anything. It is because we will never believe in ourselves. We will always listen to the mass majority. If everybody's making fun of you and criticizing you, then you know you're on the right track. 'Cause most people ain't got it.
I really connect with every character that I've played, just because I kinda have to; as an actor, you want to take them in and get to know them and like them; because they're evil, you kinda have to like them so that you can understand them and play them and play them with some kind of empathy.
Why was it that the instant you sent someone a check, no matter how worthy the organization, the first thing they did was ask you for more? Irritating, and a waste of the money she had just sent them.
My nature is to get instant gratification. On stage, I can feel everybody's anticipation. I know what they want, I know what I'm going to give them, I know when I'm going to give it to them, I know when they want it.
The music of all the different media of life-memories, images, feeling-tones, poetic-musical connotations of phrasing-is kaleidoscopic and doesn't repeat itself or recur. -People who think they are trapped in a river of regularized and ever-repeating time are merely the victims of their own ordinarizing minds that have elaborated for them a prison-cell of everydayness. The fountains of time, history, life, inspiration, etc. are fresh every instant, if one knows how to grasp them with some finesse: every instant within natural, historical, and personal time is unique.
I'm a miracle man, things happen which I don't plan, I've never planned anything. Whatsoever I do, I want it to be an instant action object, instant reaction subject. Instant input, instant output.
We live in a day when the adversary stresses on every hand the philosophy of instant gratification. We seem to demand instant everything, including instant solutions to our problems. . .It was meant to be that life would be a challenge. To suffer some anxiety, some depression, some disappointment, even some failure is normal.
I'm just thinking I'm just like a normal actor who gets scripts, and I read them, and... if I enjoy reading them, then that's what's exciting, then I get excited about the audition or the project itself.
I generally find an affinity with a lot of the people I play and I suppose if I didn't feel an affinity for them then they wouldn't be particularly good performances.
A lot of actors choose parts by the scripts, but I don't trust reading the scripts that much. I try to get some friends together and read a script aloud. Sometimes I read scripts and record them and play them back to see if there's a movie. It's very evocative; it's like a first cut because you hear 'She walked to the door,' and you visualize all these things. 'She opens the door' . . . because you read the stage directions, too.
Basically when it comes to autistic kids and animals there's kind of three ways that they work, some of them are instant best buddies, they understand a cat, they understand a dog - they're best studies with it, they just know how to communicate with it. Then there's other kids that begin with a little bit of fear of the cat or the dog, but then they begin to like it and then there are other kids where you have a sensory problem - the cat meows and it hurts their ears, so they want to stay away from the cat because you never know when he might meow.
Stories pass the experienced world back and forth between them as a metaphor, until it is worn out. Only then do we realize that meaning is an act. We must repossess it, instant to instant in our lives.
We have instant pudding, instant photos, instant coffee—but there are no instant adults.
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