A Quote by Ron Moody
I'll never forget seeing 'Guys and Dolls' over and over. I used to sit up in the coliseum watching this magnificent musical. Brilliant.
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Even now I will go to, like, an industry event, and all the ladies will be over here and all the guys over here, and I will go to the guys' table and sit because I just feel I can have a much better conversation over there. And that's automatic; it's not prejudice.
My brother Trev went to the Professional Performing Arts School in New York, and he used to do his monologues and stuff and rehearse in our apartment. So I used to hear him all the time doing these things over and over and over. And when I was a little girl, I used to soak up everything - like anything anyone did, I soaked it up.
Since being at Marvel, I've been watching everything over and over and over again, all the movies, and seeing how all the movies connect has been very satisfying for me.
Through their play Barbara imagined their lives as adults. They used the dolls to reflect the adult world around them. They would sit and carry on conversations, making the dolls real people.
It was Christopher's brilliant concept that he did not want this to become like every other sitcom where you do one take, and the audience gets bored with seeing it ten times, you know, over and over again.
I can't sit through plays and musical theatre. I just want to run up onstage and mess up their hair and turn over the furniture.
But when I played Woodstock, I'll never forget that moment looking out over the hundreds of thousands of people, the sea of humanity, seeing all those people united in such a unique way. It just touched me in a way that I'll never forget.
I never got used to getting hurt and watching games on the bench. So, it's a little frustrating for me to sit there and watch my guys go out there and play every day.
For the score of 'Black Panther,' the heart and soul came from immersing myself in the rich musical history of the griots in West Africa. I was following these brilliant musicians all over rural Senegal, learning their musical language.
My overly ambitious dream is to be a Lena Dunham - I get immense pleasure seeing her name repeated over and over in the end credits of her brilliant creation 'Girls.'
The cross stands as a mystery because it is foreign to everything we exalt- self over principle, power over meekness, the quick fix over the long haul, cover-up over confession, escapism over confrontation, conform over sacrifice, feeling over commitment, legality over justice, the body over the spirit, anger over forgiveness, man over God.
The voice-over world has changed radically in the time that I've been in it. It used to be this rather small, select group of people who did 90 percent of the work. Now it's kind of the reverse: 90 percent of the work is done by this very broad mix of people all over the country, and the guys who used to be the go-to guys are a much smaller percentage now. But there was this massive interest in voice-over as well as in the story, so I think that also added to the film's appeal.
I like to think of my best moment on the job as quiet victories. Victories over what? Over the "system", over the various bureaucracies not watching me, over my colleagues' indifference, over my patron's ignorance, over the very concept of horn-blowing pride.
I'm not very good at watching myself. I look at it and I think, 'Oh, they've used the wrong take.' My job is over and it's not healthy to sit there and scrutinize your work as you're invariably unhappy!
[An audience conditioned by a lifetime of television-watching is so corrupted that] their standards have been systematically lowered over the years. These guys sit in front of their sets and the gamma rays eat the white cells of their brains out!
I am an opera virgin; I'd far prefer to see a musical such as 'Guys and Dolls.
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