A Quote by Sherrilyn Kenyon

How many more are there like you? (Maggie) Enough to make the cast of a Cecil B. DeMille film look like a two-man opera. (Wren) — © Sherrilyn Kenyon
How many more are there like you? (Maggie) Enough to make the cast of a Cecil B. DeMille film look like a two-man opera. (Wren)
Yeah, I wish I could have stayed awake long enough to see your face when I changed over. (Wren) No, you don’t. I assure you, it wasn’t pretty. (Maggie) There’s never anything about you that isn’t pretty, Maggie. You’re the most beautiful woman I’ve ever seen. (Wren)
In the very beginning, women were editors because they were the people in the lab rolling the film before there was editing. Then when people like D. W. Griffith began editing, they needed the women from the lab to come and splice the film together. Cecil B. DeMille's editor was a woman. Then, when it became a more lucrative job, men moved into it.
What would you like? (Maggie) I don’t care. I’ll eat anything not Tylenol or chocolate. (Wren)
How do you feel? (Maggie) Like I got hit by a bus that decided to back up a few times and make sure it finished the job. I think it must have ground its tires on my ribs during the last run. You know, just in case I might actually want to breathe again in my lifetime. (Wren)
I want to be the Cecil B. DeMille of science fiction.
Cecil B. DeMille worshipped the almighty buck.
I worked with Cecil B DeMille quite a few times.
Here is the operating motto of the Obama White House: 'So let it be written, so let it be done!' Like Yul Brynner's Pharaoh Ramses character in Cecil B. DeMille's 'The Ten Commandments,' the demander in chief stands with arms akimbo issuing daily edicts to his constitution-subverting minions.
I find that male directors are more interested in what the film looks like as opposed to what the film is about emotionally. My job is not to make the film look pretty, and I don't feel drawn to making myself look pretty within the film.
I got cast in [Punisher: War Zone] and showed up in Montreal two days before the film started, and they said, "We need you to do a New York accent." And I was, like, "What?! Why didn't you tell me this, oh, I don't know, two weeks ago, when you cast me?".
When I grew up, a director was Cecil B DeMille, a guy sitting down with a megaphone speaking. He was the voice of God, the image of God. When I went to start making docs, I quickly turned the megaphone to my ear not to my mouth. It's more about funneling in the words and listening as doc filmmaker.
So what happened? (Maggie) Nothing major. It’s just a group of assholes out to kill me. (Wren)
I’ve never met anyone who had a monkey for a friend before. (Maggie) I don’t know. I think those two guys you were with would qualify as primates, but then, that’s an insult to the primate and I don’t want Marvin to get pissed at me. He has higher sensibilities, you know? (Wren)
I don't know how many lions and leopards I've shot. I've shot two elephants, which was enough - never again. It's a melancholy and moving thing to hunt an elephant. It's like shooting an old man.
It's easy enough to make the truth look silly. A man never seems more foolish-like than he does when he's speaking his whole mind and heart.
I, over the years, have always felt more comfortable if I could go into a projection room and look at a film and not really know what to expect. If you read the script first, you form all kinds of preconceptions about how things look, what the location's like, what the actors are like.
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