A Quote by Vera Farmiga

The different tempos and yeah, it's cadence. It's the way she moves through space, it's gestures. — © Vera Farmiga
The different tempos and yeah, it's cadence. It's the way she moves through space, it's gestures.
I listened more than I asked. There's a lot of information online, so many Youtube videos, countless interviews with all those obvious questions that were all answered for me. I just wanted to absorb her essence. I wanted to see the details, she has such mad style. I just wanted to see - the way she communicates with her hands, these gestures, her smile, how she moves through space.
She goes where she pleases. She appears unhoped for, uncalled for. She moves through doors and walls and windows. Her thoughts move through minds. She enters dreams. She vanishes and is still there. She knows the future and sees through flesh. She is not afraid of anything.
Since I started composing I have always worked with series of tempos, even superimposed the music of different groups of musicians, of singers, instrumentalists who play and sing in different tempos simultaneously and then meet every now and then in the same tempo.
I say, 'Yeah, Taylor Swift.' I think she is a smart, beautiful girl. I think she's making all the right moves. She's got a good head on her shoulders. She's surrounded with wonderful people. Her songs are great. She keeps herself anchored. She knows who she is, and she's living and standing by that.
She remembered was hope was, and this was it. That inner churning that moves you forward, plows you through life the way the boats plowed the shiny water, the way the plane was plowing forward to a place new, and where she was needed.
And she moves among the sparrows. And she floats upon the breeze. She moves among the flowers. She moves something deep inside of me
She stands and moves within the invisible pentacle of her own virginity. She is an unbroken egg: she is a sealed vessel; she has inside her a magic space the entrance to which is shut tight with a plug of membrane; she is a closed system; she does not know how to shiver.
And I think you understand a little bit more why she falls for him. In a way, watching the French do anything is a little more fun because their gestures are different. And in that way, they make everything interesting.
Being sexy is not about what's on show, it's all about suggestion, or insinuation. I'm interested in the way a garment hangs on a woman's body and the way it moves when she moves.
Something about the way she moves through the world does not lend itself to the care of fragile objects.
It's always a blast playing the new stuff. But I feel like songs, in a way, are never finished. You get to a point where you're comfortable enough to put a stamp on it and send it out there, but even after recording it, when you're playing it live, you hear different harmonies, you hear different notes, you hear different tempos or peaks and valleys in the song.
I always knew my mother was different, different from the other mothers in the way she dressed, the way she spoke, but most obviously, the way she mothered. I remember a slumber party where, instead of a sleeping bag, she urged me to bring a small, inflatable mattress because the dust on the floor was liable to aggravate my allergies.
At the very core of what a comic is, time and space are kind of the same thing. When your reader moves her eyes across the page, she should be moving through time in your story.
I have to figure out different ways to get into the moves that I do because everyone has a different offense, and I need different counters to go into my moves, and that's more down to tape watching.
I make a lot of music for different people. My audience is varied so I use different tempos for different music in order to satisfy my many fans.
I think Lucy Ferry, now Birley, is absolutely beautiful. She's a modern girl, but she moves beautifully. Amanda [Harlech] moves beautifully when she's not working. All those English leftover society girls.
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