A Quote by Rachel Vincent

Had I just begged for an audience with Death? — © Rachel Vincent
Had I just begged for an audience with Death?
I had read the criticisms of me and my movies and they were discerning. They said that Crawford needs a new deal, and they asked if I was doomed to explore forever the emotional misfortunes of the super-sexed modern young woman. And so, to break away from the pattern, I wanted to do "The Gorgeous Hussy". Selznick laughed at me. 'You can't do a costume picture. You're too modern.' But I begged and begged and begged, and so they let me do it. I was totally miscast.
Having a kid who begged for 'just a few more minutes' of television was the antithesis of what I had hoped parenthood would be. It was resigning ourselves to a universe of want and consumption.
I begged and begged, and my uncle gave me his old turntables. It was one hi-fi and one old Stereo Lab turntable and a rusty mixer. I was really chuffed. I kept that for five years - that's where I learned to mix.
I pecked my stories out two-fingered on the Remington portable typewriter my mother had bought me. I had begged for it when I was ten.
Every audience is different, even within the same venue. You have to just make every audience your audience; you can't pre-judge an audience based on the size of the room or the type of room. You've just got to be in the moment and go with it.
When I started writing the screenplay for 'The Queen,' about the aftermath of the death of Princess Diana, both Stephen Frears, the director, and Andy Harries, the producer, begged me not to put Tony Blair in it.
You turn the computer into the storyteller and the player into the audience, like in the old days when the storyteller would actually respond to the audience, rather than just having the audience respond to the storyteller. I had an enormous amount of fun, actually, working on that.
'Full House' was the first time I had ever been in front of a live audience. I said a line I had rehearsed with my mom, and they laughed. It was wild. To have that energy of the live audience was like, Whaaat? Feeding off that live audience was, to a 4 or 5 year old, a high.
I have been steadily exchanging a rock audience who were nervous about what they had just bought for a jazz audience who not only were happy with their purchase, but are increasingly coming again.
Growing up in an Ethiopian household allowed me to feel like I had an audience before I had an audience.
I was 21, and I was in college, and I'd eat real healthy during the week, and then on the weekends I would reward myself, and I'd just go to town on whatever my parents had in the fridge. And my little brother would be like, 'Hey.' And so it was actually him that begged me to do my first contest.
I took all the blame. I admitted mistakes I hadn't made, intentions I'd never had. Whenever she turned cold and hard, I begged her to be good to me again, to forgive me and love me. Sometimes I had the feeling that she hurt herself when she turned cold and rigid. As if what she was yearning for was the warmth of my apologies, protestations, and entreaties. Sometimes I thought she just bullied me. But either way, I had no choice.
Every audience is different, even within the same venue. You have to just make every audience your audience; you can't pre-judge an audience based on the size of the room or the type of room.
They weren’t idiots, but I attracted trouble that just begged me to beat it into submission.
Ragnor and Catarina both begged him to give the instrument up. Random strangers on the street begged him to give the instrument up. Even cats ran away from him.
To me, it's the kiss of death when you start winking at the audience as an actor. I just never liked it. I don't like it when we do monologues, looking into the character.
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