A Quote by Steven Stucky
I want to know exactly how the first few measures are going to go, and the rough shape of a movement or the whole piece and its essential character.
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He says he had to go help someone in a desperate situation. Who, exactly, he refuses to say. He doesn’t know when he’s going to be back, but suggests we put off the wedding for a few days. The rotter! How dare he just zoom off and not tell me where he’s going, or who he’s going to help, or what exactly he’s up to!” Yeah, how dare he go out and be all heroic and stuff when you want him here slobbering over your big boobs.
Let me give you a few simple rules for learning to draw. First, see of what shape the whole thing is. Next, put in the line that marks the movement of the whole. Don't have more than one movement in a figure; you can't patch parts together. Simple lines; then simple values. Establish the fact of the whole. Is it square, oblong, cube, or what is it?
As a believer, I know that Jesus Christ has a plan and it's not going to be my plan. It's not always succeeding and looking back it's amazing looking back to see how God works in mysterious ways, not always good ways, rough ways but those rough times, those rough patches, and those swamps and all those things that I went through are looking back, were such an incredible life lessons for me not only to shape and build me as an athlete but most importantly, my character as a person.
I know first-hand how hard it is to start a business. Those first few years are rough.
When I'm writing with Tony Iommi, for example, still it's very easy. We go in, and I know exactly what his style is. It's very distinctive, and you know exactly what he's looking for, and we know exactly where we're going from the first chord.
I think the first thing you release should come from you. If you want your first piece to be exactly how you want it to be, and how you see it, you should release it yourself.
How much the work of an artist owes to an art movement to which he belongs can never be determined exactly, if only because the movement derives its character from the individual creations of its members.
When Ma died, I didn't know how to go on, either. I don't know how. I don't feel the same know, not exactly. Now that I see that one day comes after another and you get through them one measure at a time. But I'd like to go, not like Fonda Nye, I don't want to die, I just want to go, away, out of the dust.
It's the horsey-shape piece that moves in an L shape. It's what makes chess complicated, and why stupid people can't play chess. Go play checkers! Knights are the first piece you look at. They elevate the game. No chess master wants to lose her knights.
You want to give the director what they want, and you don't always know exactly how it goes, so you want to try it a few different ways. You have to be flexible; you have to be in collaboration with the director; you have to be versatile. But you also want to be protective of what you really believe in and how you feel it should be portrayed.
Filmmaking is finding a piece of granite and you start to chip away and then you have the shape of a head, the shape of the arm, you can see the shape of the face and the face starts to gather character. You have to find it.
What you wear can be such an indicator of so many things. You know, how you feel, how you want others to perceive you. So, that is an absolutely essential part of building a character.
Usually, you get a script and you have the whole story. All the acts are there, for a play. You know what happens in the first, second and third acts, and you know how it starts, where you go and where it finishes. [With American Horror Story: Asylum], it's a whole new experience. I don't know where it's going, and I don't know what's going to happen next. It's been an interesting way to work. It's made me work in a much more fluid, braver way, just taking every chance that comes along.
My most enjoyable movie going experiences have always been going to a movie theater, sitting there and the lights go down and a film comes on the screen that you don't know everything about, and you don't know every plot turn and every character movement that's going to happen.
Particularly, the actors, to have analyzed the script in great detail from the point of view of their specific character. So that they have a handle on exactly where the character is in the chronology of things. In that sense the actors become your best check on the logic of the piece, and the way in which it all fits together. They become essential collaborators. The main thing is you have to work with very smart actors.
When you get the role, it's 'cause you know exactly how to play it, and they know that the way you're playing it is exactly what they want. I never go with a role and say that I need to change anything about it. Otherwise, I wouldn't take it.
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