A Quote by Paula Pell

Commercials used to have such a serious tone to them or a really corny tone. — © Paula Pell
Commercials used to have such a serious tone to them or a really corny tone.
Once Now You See Me proved that that tone could work, which I'm sure was a nightmare for them in post - is this too serious? Do we have to say that magic really does exist or not? - I can take that and have fun with the tone that they established.
I just see many, many untruthful things. I see tone, the word tone. The tone is such hatred. I'm really not a bad person, by the way.The tone is such - I do get good ratings, you have to admit that.
In order to produce learned fear, you take a neutral stimulus like a tone, and you pair it with an electrical shock. Tone, shock. Tone, shock. So the animal learns that the tone is bad news. But you can also do the opposite - shock it at other times, but never when the tone comes on.
With the black and white films, one was concerned with tone... You had to make sure that the tone of your dress was not the same tone as the curtains, for instance.
I'll just say that I made my own explorations of tone by listening to a tone for a long time until I began to understand what my sensations were, what my mind was doing with tone.
The tone is so important to a film, and that tone can really make something fall or succeed.
Even if nobody's singing, just when you talk, you're singing. I'll meet somebody and say, "Oh, I'm tone-deaf." I say, "You're not tone-deaf, because if you were tone-deaf you would speak like that. But you're 'Oh, I'm tone-deaf.' You already sang a song to me."
When you're directing an ongoing series, the tone has already been set. So a director will come in and fulfill that tone - reinforce the characters and their behavior. The challenge is to find unique ways that you can visually tell the story while keeping the established tone and the pace and the characters.
You have to find the tone of the piece and modulate that. There are ways to indicate that - I try to incorporate the biggest range I can within the story, going from humorous to serious without it being jarring. That's the hardest part, to keep that balance. It requires being constantly aware of where you are in the story. You can't really do that in a movie: You can't slightly modulate the tone by the way the character's eyeballs look in one certain scene.
Most of my films - if you look at the tone, apart from 'Shadows,' which is straight-up comedy - the tone is a mix between comedy and pathos, and I really love that.
The director sets the tone, and if someone's ruling it with an iron fist, people are quiet and the days go long in my experience, when there's a very serious tone, the days just drag. When there's someone who, in between takes, is joking or laughing the days go quick.
Push-ups are seriously the best way to tone your arms - and they tone your abs at the same time! I like to do them when I'm home watching TV or listening to music.
There are only two answers for the handling of people from 2.0 down on the Tone Scale, neither one of which has anything to do with reasoning with them or listening to their justification of their acts. The first is to raise them on the Tone Scale by un-enturbulating some of their theta by any one of the three valid processes. The other is to dispose of them quietly and without sorrow.
If you have a tone like mine that is recognizable. No matter what I play, when you hear my tone you can tell it's me.
You had to make sure that the tone of your dress was not the same tone as the curtains, for instance.
No, Mom. I said fine." "It's just your tone." Ah, yes- the tone. The nasty traitor.
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