A Quote by Ray Harryhausen
You could believe that Sinbad could fight a skeleton because that's from a period in the past, a magical period. But if you had James Bond fighting a skeleton, it'd be almost comical.
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Yeah? Can you draw a skeleton riding a motorcycle with flames coming out of it? And I want a pirate hat on the skeleton. And a parrot on his shoulder. A skeleton parrot. Or maybe a ninja skeleton parrot? No, that would be overkill. But it'd be cool if the biker skeleton could be shooting some ninja throwing stars. That are on fire.
I would say what you have to do as a screenwriter is strip the book back to find the skeleton. When you've found the skeleton - that's what you trust - you reclothe.
Your past is a skeleton walking one step behind you, and your future is a a skeleton walking one step in front of you. Maybe you don't wear a watch, but your skeletons do, and they always know what time it is.
I have always weirdly seen myself as more of a character actor. I have never been suave. I could never see myself playing James Bond. I suppose I could fake it, but I am certainly not James Bond in real life.
There was a period of time early in my career where I was like, 'I'm gonna definitely fight. I definitely want to be a part of this lifestyle.' Then there was a period of time where I had so much success in the sport of wrestling, and I was like, 'I don't really need fighting.'
I myself believe that there is in every painter's life a period of making absurdities. In my case I think that period is already long past.
There was a period when the utopian scenario was almost true - when we felt that you could do almost anything in a club, as long as it was any good. There was no rigid expectation from the audience as to how it had to be delivered. But this didn't last very long. It was almost palpable, the decline of this in the new millennium.
These are things you should learn. Your past is a skeleton walking one step behind you; your future is a skeleton walking one step in front of you. Maybe you don’t wear a watch, but your skeletons do, and they always know what time it is. Now, these skeletons are made of memories, dreams, and voices. And they can trap you in the in-between, between touching and becoming. But they’re not necessarily evil, unless you let them be.
Definitions get you into that time trap, and I'm very much more process-focused. Take Lucy, for example. Lucy is famous largely because she has almost a total skeleton. The more sophisticated we get with instruments, the more we can find out. Through CT scans of her skeleton, they now think she died falling out of a tree because of the way her bones are broken. If nineteenth and twentieth century technologies can retroactively transform our bodiment, what then do the technologies we now use do?
I think the advantage we had with "MacGruber" is the speed we had to put it together. We had a such a short period to write the movie and such a post-[production] period, it was almost like the way that the show worked, where everything is happening so fast you have to go with your gut.
Wonder was the grace of the country. Any action could be justified by that: the wonder it was rooted in. Period followed period, and finally the wonder was that things could be built so big. Bridges, skyscrapers, fortunes, all having a life first in the marketplace, still drew on the force of wonder.
I read round the subject, I make a skeleton outline, and then I start work in the relevant archives. During the marshaling of the material, I copy the material from each archive file across to the relevant chapter in the skeleton outline.
There was a period... when I used to say, with as much ferocity as I could muster, 'I hate Henry James, and I wish he was dead.' Influence is perdition.
There's a lot of guys that are able to perform for a short period of time. It could be a week, it could be a month, it could be two months, it could be one season. It's doing it over and over. And being consistent was something that watching Patrick Roy all these years, that's what he was. He never had down years.
Let me just say you could end this violence within a very short period of time, have a complete ceasefire - which Iran could control, which Russia could control, which Syria could control, and which we and our coalition friends could control - if one man would merely make it known to the world that he doesn't have to be part of the long-term future; he'll help manage Syria out of this mess and then go off into the sunset, as most people do after a period of public life. If he were to do that, then you could stop the violence and quickly move to management.
Sean Connery wasn't the Scottish James Bond, and Daniel Craig wasn't the blue-eyed James Bond. So if I played him, I don't want to be called the black James Bond.
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