A Quote by Rose McIver

When I look at jobs, one of the most relevant questions I ask is, 'Is this something I've done before, or is it a chance to experience a new context, tone and relationship?' I also ask if it's a story worth telling and a character with a reason to exist... someone who reflects the human condition.
There may be lots of questions that anybody - an actor or a director or anybody - can ask about a character in a play of mine that are not answered in the play, but if it's a question that I don't think is relevant, I don't bother about it. There's no reason to ask it.
I believe that good questions are more important than answers, and the best children's books ask questions, and make the readers ask questions. And every new question is going to disturb someone's universe.
Someone has to ask you a question," George continues meaningly, "before you can answer it. But it's so seldom you find anyone who'll ask the right questions. Most people aren't that much interested.
I try to ask visual questions. I'll ask what someone was wearing, if that seems relevant. If possible, I'll walk over the same ground that they're depicting. Of course, I can never get it precisely as it was.
I was overjoyed when I was offered the title role in 'Well Done Abba.' I was ready for the role even before I heard the story because you don't ask questions when it is Shyam Benegal's film. It is the chance of a lifetime.
Religion is a valid inquiry; whether society accepts it or rejects it, it doesn't matter. Man is a religious animal and is going to remain that way. Religion is something natural. To ask from where you come is relevant; to ask, 'Who am I?' is going to remain relevant always. But the modern mind has created a climate of atheism so you cannot ask such questions. If you ask, people laugh. If you talk about such things, people feel bored If you start inquiring in these ways, people think you are slipping out of your sanity. Religion is no longer a welcome inquiry.
When you ask why did some particular question occur to a scientist or philosopher for the first time, or why did this particular approach seem natural, then your questions concern the context of discovery. When you ask whether the argument the philosopher puts forth to answer that question is sound, or whether the evidence justifies the scientific theory proposed, then you've entered the context of justification. Considerations of history, sociology, anthropology, and psychology are relevant to the context of discovery, but not to justification.
It is intelligent to ask two questions: (1) Is it possible? (2) Can I do it?. But it is unintelligent to ask these questions: (1) Is it real? (2) Has my neighbor done it?
The whole process of telling my story to my ghostwriter was so intense, after all, because he would ask me questions that no journalist would ask me. Things like, 'How did it smell at your grandmother's house?'
When you ask for happiness and a beautiful life, ask not just for you, but for everyone. When you ask for something better, ask not just for you, but for everyone. By all means ask for abundance and health for you, but also ask for it to be given to everyone. Can you imagine what would happen if six billion people asked for these things for you?
If you're on the path you're meant to be on, everything falls into place; the Universe is telling you that. If you are not on the right path, you will experience roadblocks all along the way, and this is also the Universe telling you to stop, look, and ask if this is where you are supposed to be.
Kids ask me questions. You'd think after doing this for four years, I would have heard every single question anyone could think of to ask, but no, every time, they surprise me, they ask me something I never thought of before.
So many reporters ask a lot of crazy questions. The answers to most of these questions are so obvious, but they ask them anyway just to see what kind of reaction they can get out of you.
Also, getting the chance to play a supporting part meant that I didn't have to do as much as the protagonist, such as running around telling the story. [As the protagonist] you push the story whereas, paradoxically, as a character part, you have a chance to explore some of the nuance and some of the more complicated aspects of a character.
Working with Bernardo Bertolucci, director of Stealing Beauty was my first experience of being able to communicate with someone whom I'd think of as a mentor, who'd ask me my opinion and trust me, and believe in me and allow me to do the things that I wanted to do. The film itself was also rare in terms of character most of the scripts I've read are the story of some man, and there might be a love interest or a big woman's part.
In my own experience, including when I ask for advice, I would ask a collaborator, a friend, I also like to hear the opinion of a woman because they have such wealth. They look at things in a different way.
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