A Quote by Roger Moore

It's very tempting to over-eat all the bad things when you're on a film set. — © Roger Moore
It's very tempting to over-eat all the bad things when you're on a film set.
It's tempting to work more than 60 hours a week and sacrifice sleep, not move, and eat bad foods as they are convenient. But this comes with a cost.
Its tempting to work more than 60 hours a week and sacrifice sleep, not move, and eat bad foods as they are convenient. But this comes with a cost.
It's very tempting, when somebody says they like this about you, to want to do that over and over.
It's very, very tempting to make a superhero film or show and make it about the powers.
When I stepped out from doing films and had a dark period, I never did anything dark on a set, so I never made enemies on a set. I never was a bad girl on a set; I always considered films a really sacred space, so when I had my problems, I had them very much away from the film community.
My label is to play bad guys of Latin origin in American movies. I'm happy with that label. I prefer to play that than to play a city boy. The bad guy is always something very tempting for the audience.
The first draft of everything, I write longhand. One of the nice things about that is that it makes you keep going. If you write a bad sentence on the computer, then it's very tempting to go back and fidget with it and spend another 20 minutes trying to make it into a good sentence.
Be careful about what you eat because otherwise you get fat! Do you like to be fat? Eat very, very, very little things. Almost starve, but I don't starve, because I eat very much.
I think film and television - particularly film - you are very isolated as a writer. If you're lucky, you have a good relationship with the director. Then you do make that development and come on set and be part of something. But ultimately, your work is kind of done by the time you come on set.
When we're good, we're very, very good, and when we're bad, we're horrid. This is not news, because we're so much more inventive and we have two hands, the left and the right. That is how we think. It's all over our literature, and it's all over the way we arrange archetypes, the good version, the bad version, the god, the devil, the Abel, the Cain, you name it. We arrange things in pairs like that because we know about ourselves.
I eat a lot. I probably eat more than anybody that I know. I'll go on set and get a plate of bacon, a bagel, an omelet, boiled eggs, fresh fruit, oatmeal, fresh juice, potatoes, basically anything that's there. I don't mean that I alternate between these things. I'll eat all of this for breakfast.
The first draft of everything, I write longhand. One of the nice things about that is that it makes you keep going. If you write a bad sentence on the computer, then it's very tempting to go back and fidget with it and spend another 20 minutes trying to make it into a good sentence. When you're handwriting, you really just have to move on.
I'm very lucky to say that I worked with a lot of directors who cannot make a bad film. Like when Wim Wenders, they cannot make a bad film. They can make a film people don't like, or it's the wrong moment.
The Georges were fair; they left all to the Government; but Anne was very bad and a tyrant. She tyrannised over the Irish. She died broken-hearted with all the bad things that were going on about her. For Queen Anne was very wicked; oh, very wicked, indeed!
When you're making a film, it's a very technical process. You do things over and over again, and you have to hit your marks and your light and all that stuff.
Here is something no real celebrity will ever tell you: film acting is not very fun. Doing the same thing over and over again until, in the director's eyes, you 'get it right' does not allow for very much creative freedom... In terms of sheer adrenaline, film has absolutely nothing on theater.
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