A Quote by Van Heflin

Nothing creative functions well when fenced in or leaning on a prop. A contract is a fence and a prop. — © Van Heflin
Nothing creative functions well when fenced in or leaning on a prop. A contract is a fence and a prop.
Frank Capra was a prop man, I think. John Ford was a prop man. It was a little bit of a father and son thing, and you kind of worked your way up.
The negative way [of describing God] is a cardboard prop of Christianity to conceal its unknowable God. When this prop collapses, theistic agnosticism emerges, complete with its package of contradictions and non-sensical utterances.
When you have a son in football like Anton, it will always be deemed as if he got the prop up and given the contract, no matter how hard he works. So much so that when he was offered a deal at Chelsea, I advised him not to take a professional contract.
I'm all right,' Jace protested, but his hand gripped Alec's sleeve tightly. 'I can stand.' It looks to me like you're using a wall to prop you up. That's not my definition of "standing."' It's leaning,' Jace told him. 'Leaning comes right before standing.
The wagering thing for a lawyer is very interesting. Will there be mobile sports wagering? Will there be mobile prop betting? Conceivably, someone sitting in basketball area placing prop bets on a mobile phone while the individual is 10 feet from the court? Some of the possibilities are angst-producing.
"It is necessary to be given the prop that all elementary props are given." This is not necessary because it is even impossible. There is no such prop! That all elementary props are given is SHOWN by there being none having an elementary sense which is not given.
I like the prop food so much that I eat it between takes as well as on camera.
I love bad comedy more than I love good comedy, so I love open mics. Or I used to. But the thing that delights me more than anything else in an open-mic performer is when the comic has one joke that requires some kind of prop. But only one. The prop is always produced very awkwardly, and it never, ever pays off. The resulting embarrassment is savory and delicious.
I don’t mind if the character is a small character, but I would just like her to have a journey in the film. Sometimes the characters are just there as a prop to further the man’s story. The great directors I’ve talked to, I’ve said listen, I don’t mind playing a woman that is a tiny part, but how does the story affect her? What can I play in the end that’s different from the beginning? Otherwise, it doesn’t make sense, because it’s just like being a prop.
I like it when people are kind and I like people who are looking for collaborators. Sometimes you can feel like a moving prop, and that could be amazing, you can be a prop in somebody's incredible vision, but I'm more interested in people who are looking for actors they can collaborate with and make something together with. I like stretching myself, I like trying new things out, but I'm really interested in working with directors who have a very specific style and a unique way of working.
I play guitar, and it's not a prop.
I'm not a big prop actor.
I don't want to play a prop in a film.
Tradition is a prop for social security.
Instead of focusing on men and focusing on what we can do to prop them up, people seem really incredibly focused on the fact that women are doing well and maybe that's not such a good thing.
The personality must be bigger than the prop.
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