A Quote by William Devane
I would fix other people's lines if they asked me on occasion. The hard part of writing is the architecture of it, getting the story and structuring it. Not the tweaking of lines.
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I think acting, oftentimes it's not about lines, it's about spaces in between lines and expressions on people's faces and their relationships. You can tell your own story, or a story that you're interested in, even if the lines don't necessarily point you in that direction.
I don't worry too much about learning lines per se. The memorization is the easy part for me, usually. For me, it's more about working on the context, back story, intention, motivation, etc. Once that's in place, the lines come pretty naturally.
There are no chords in modernist architecture, only lines - lines that may come to an end, but that achieve no closure
[Barack] Obama can draw lines for himself and his country, not for other countries. We have our red lines, like our sovereignty, our independence, while if you want to talk about world red lines, the United States used depleted uranium in Iraq, Israel used white phosphorus in Gaza, and nobody said anything. What about the red lines ? We don't see red lines. It's political red lines.
Those of us raised in modern cities tend to notice horizontal and vertical lines more quickly than lines at other orientations. In contrast, people raised in nomadic tribes do a better job noticing lines skewed at intermediate angles, since Mother Nature tends to work with a wider array of lines than most architects.
When I went to auditions, if I didn't know the lines, I wasn't getting the job. If I knew my lines, if I knew what I was supposed to be doing, I got the job. And it was always like that - if I'm working hard, I get the result that I'm looking for.
I remembered getting the script for the auditions [of Aladdin], I had asked someone there if improvs were allowed, and he said everyone is sticking to the script. I said to myself that they are either going to love me or hate me. I was crossing out lines and throwing in my own lines. I went into the room and started doing things. They were like, "This boy is nuts! We should keep him." That's how it all came about.
If I know I have to memorize lines, I'm really gonna try to memorize lines. It's hard for me sometimes, because somebody wrote these words and you're trying really hard to get them the way they said it.
Some of the writers definitely got inspired by some of the story lines, but we are evolving in the 'Daredevil' story. So when it comes to 'Elektra', they didn't follow one of her specific story lines, you know. They really tried to capture what comes through the comics, but there's not one specific storyline.
You learn to do your best writing on story rather than off story. Very often at the beginning of their careers, writers including me do their best dialogue writing off story - the best lines, the best observations - but they haven't got enough to do with the plot to stay in.
The less lines, the better. I am the silent film actor, but not in a slapstick sort of way. Film is an image-based medium, so whatever you can say without the words is far more provocative and punctuating. If the lines are not funny or if they don't advance the story, sometimes it's hard. I hate talk in movies.
Writing the opening lines of a story is a bit like starting to ski at the steepest part of a hill. You must have all your skills under control from the first instant.
If we wish to count lines of code, we should not regard them as "lines produced" but as "lines spent."
People have thought that some of my writing and lines are done by a machine. I'm able to move in a way that's part gestural dance performance, and it's fun for me, so I incorporate that into the painting.
Everyone had coverage. You might have like three lines, but there were 10 people, so they would cover each person. Three lines could take 12 or 15 hours, but it was fun because everybody was together. As hard as it was to shoot those scenes, I always enjoyed when we were all together.
As full lines of battle could not be handled through the thick wood, I ordered the advance of the six brigades by heavy skirmish lines, to be followed by stronger supporting lines.
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