A Quote by Taraji P. Henson

Sometimes you have to say the words exactly how they are on the page, but sometimes when you improv, it only helps to get across what's on the page, and I just love working with directors who allow that.
Depending on where I am in the process, sometimes I have a page count and sometimes I don't. Sometimes I have an hour count; sometimes I'm just happy to string a few words together. I do keep pretty rigorous hours, because otherwise you never get anything done.
I just like to express myself in the world around me. And I love writing, but sometimes it feels a little too minute. Sometimes, at the end of the day, there's just not enough colors involved - visually, there are just words on a page.
Sometimes I think that maybe we are just stories. Like we may as well just be words on a page, because we're only what we've done and what we are going to do.
Sometimes you just need words on a page to memorize.
The only thing going on is the progression of words and sentences across page after page and so suddenly we see this immersive kind of very attentive thinking, whether you are paying attention to a story or to an argument, or whatever. And what we know about the brain is the brain adapts to these types of tools.
I get newspapers from Britain and other countries twice a week and read them almost page to page. Sometimes I find I'm reading things I don't even need to read, because my mind is still hungry.
When writing for the page, the focus is on the design - how the words appear on the page. I try to make it as direct and simple as possible.
I'm not much of a preparer. I think sometimes as an actor you need to go out and learn some skills, but in terms of preparation for understanding the character, it's all on the page, and if it's not on the page, you're in trouble.
I wouldn't say I see things visually first, but what I do think is important, for a lot of screenwriters, is to not just think about the words on the page, but also the world as a whole and the vibe of the movie, rather than a sequence of scenes written on the page.
The art of fiction is one of constant seduction. You must persuade the reader on page 1 to start reading - on page 50, or page 150 and yes, on page 850.
You are wrong if you think that you can in any way take the vision and tame it to the page. The page is jealous and tyrannical; the page is made of time and matter; the page always wins.
Yes, the fear of its blankness. At the same time, I kind of loved it. Mallarmé was trying to make the page a blank page. But if you're going to make the page a blank page, it's not just the absence of something, it has to become something else. It has to be material, it has to be this thing. I wanted to turn a page into a thing.
I used to say Page Joseph Falkinburg - which is my given name - when Page Joseph Falkinburg stopped trying to be this over-the-top professional wrestler, Diamond Dallas Page, and Diamond Dallas Page became Page Joseph Falkinburg, that's when my career took off.
Cancer's only one page in my life, and I will not allow this page to impact the rest of my life.
My rule of thumb is to always do what's on the page first. Then you can talk to your director about playing with it. Improv frees me up in a character, but I would be mortified if the writers who agonized over their words assumed I thought my improv was more valuable.
My liberal friends love to dismiss Reagan. You know, they'll say something like, 'Oh, didn't he, like, only read one-page memos when he was in the White House?' Well, that's just good managerial practice. I mean, Franklin Roosevelt made people write one-page memos.
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