A Quote by Thelma Schoonmaker

In 'Silence,' there was no improvisation at all; really, you're dealing with a script and a 17th century way of speaking. — © Thelma Schoonmaker
In 'Silence,' there was no improvisation at all; really, you're dealing with a script and a 17th century way of speaking.
I use improvisation as a writing tool to help produce material that goes into a script, but a well-crafted script shouldn't sound scripted, and oftentimes people confuse something that looks like improvisation for what is actually a very well-written script that is well-acted.
One layer was certainly 17th century. The 18th century in him is obvious. There was the 19th century, and a large slice, of course, of the 20th century; and another, curious layer which may possibly have been the 21st.
There are a lot of visual marks that have to be hit, and lines that need to be said in a right way - so there wasn't really any improvisation on the set when it came to the bulk of the script.
Without computers, in the 17th century, we could classify the entire animal kingdom... there was this idea of the speciation, right? And now, all a search engine is is essentially the mathematical speciation of ideas - and these things really derive from the way that language is used and the way words relate.
If it's a modern-day story dealing with certain ethnic groups, I think I could open up certain scenes for improvisation, while staying within the structure of the script.
I live in the Dark Ages, the 17th century. Actually, I would have loved to be in Paris in the early 20th century when the Ballets Russes were there and Chanel was designing.
Cooking requires confident guesswork and improvisation-- experimentation and substitution, dealing with failure and uncertainty in a creative way
In these old houses, I mean, we're here in the 17th century part of the palace and I can really belt out a tune if I want, nobody's going to hear me at all.
I don't know what I would've done without it. I really struggled in school with reading and writing. Art was my refuge - my way of speaking, of dealing with my own issues and connecting with the world.
Silence is never-ending speech. Vocal speech obstructs the other speech of silence. In silence one is in intimate contact with the surroundings. Language is only a medium for communicating one's thoughts to another. Silence is ever speaking.
You cannot gauge the intelligence of an American by talking with him; you must work with him. The American polishes and refines his way of doing things-even the most commonplace-the way the French of the 17th century polished their maxims.
I'm very interested in the improvisation because one of the things I do is to help train scientists to communicate in a better way and more personal way when they're making a presentation, and I use improvisation to do that.
The oldest book I have is a treatise on architecture from the 17th century.
'Quantum of Solace' was a bit of a different circumstance than a lot of my other films because you're stepping into a franchise, and also in that particular film, we're dealing with a script from the writer's strike, which was difficult to handle because there was never time to really develop a finished script.
The technologies for the alternative energy sources exists today. The economics are compelling. The public health is compelling. Why would we maintain a focus on a 17th-century technology, when there are 21st-century alternatives that are both necessary and available? And the answer is the subversion of democracy.
To write is to make oneself the echo of what cannot cease speaking - and since it cannot, in order to become its echo I have, in a way, to silence it. I bring to this incessant speech the decisiveness, the authority of my own silence.
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