A Quote by Dennis Hopper

I was a Shakespearean actor, I had preconceived ideas, line readings - everything was a gesture, everything was conscious. — © Dennis Hopper
I was a Shakespearean actor, I had preconceived ideas, line readings - everything was a gesture, everything was conscious.
A child sees everything, looks straight at it, examines it, without any preconceived idea; most people, after they are about eleven or twelve, quite lose this power, they see everything through a few preconceived ideas which hang like a veil between them and the outer world.
For one thing, I want gesture-any kind of gesture, all kinds of gesture-gentle or brutal, joyous or tragic; the gesture of space soaring, sinking, streaming, whirling; the gestures of light flowing or spurting through color. I see everything as possessing or possessed by gesture. I've often thought of my paintings as having an axis around which everything revolves.
I think if you let go of preconceived ideas, you'll find everything in this life. For me, my understanding is God is all that is, God is everything, all that is, and your true God is within, and that's the power that you have as a human being.
Someone with my name and my appearance comes with preconceived ideas attached. My mission is to erase as many preconceived ideas, barriers, and stereotypes as I can.
A British actor will savour every syllable of a Shakespearean line, while a French actor will drive to the end of a sentence or a speech with a propulsive rhythm: the thing you never say to a French actor is, 'Take your time.'
It is often said that experiments should be made without preconceived ideas. That is impossible. Not only would it make every experiment fruitless, but even if we wished to do so, it could not be done. Every man has his own conception of the world, and this he cannot so easily lay aside. We must, example, use language, and our language is necessarily steeped in preconceived ideas. Only they are unconscious preconceived ideas, which are a thousand times the most dangerous of all.
I look at my women with a Shakespearean element too - the variant of emotions they are capable of - it's not all completely dour, there is a bit of humor in there too! I actually think the whole Shakespearean world is wrapped up in every human being, from beauty to destruction and everything in between.
I'm not a Shakespearean actor really, or a Shakespearean director.
I'm always conscious of what I'm writing, conscious of what the actor may ask me. I have a defense for nearly every line in the song.
Light gesture and color of the key compliments of any photograph. Light and color are obvious, but it is just her that is the most important. There is gesture in everything. It's up to you to find a gesture that is most telling.
These matters require what I think of as the Shakespearean cast of thought. That is to say, a fine credulity about everything, kept in check by a lively skepticism about everything.... It keeps you constantly alert to every possibility.
My favourite British line is the West Highland line. It was built across moorland where no one had succeeded in building a road. So everything in that area is there because of the railway line.
My natural tendency is to complicate everything--and then to spray words and ideas onto everything afterwards. I've had to develop the habit of keeping things simple.
Everything you say; every thought you entertain; and everything you do has a direction, which serves as an advance or a retreat in respect to your pursuit of excellence. Everything, regardless of size or intent, has bottom-line consequences; therefore, everything counts - this is the golden rule of excellence.
I've learned that in the theater the story is everything. Every lyric, every line and every musical gesture has to propel the journey of a given character or the overall plot.
You send a message in everything you do. I'm always very conscious about what ideas and what energy I put out there.
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