A Quote by Jean Louisa Kelly
My character in 'Mr. Holland's Opus' was kind of coming of age, learning about a world that was opening up to her.
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I took the part in 'Mr. Holland's Opus' because no one had ever asked me to play 'a life' before. I get to age through 30 years. The idea really challenged me.
We can't automatically think about young women in makeup negatively. Sometimes a woman engages in these new forces and energies of beauty coming into her world. They can become tools. She's trying to express her femininity outwardly. I'm still learning too.
[The Dutch] people want [refugees to be safe] but don't come here. And don't forget, people are very angry about that, that most of the people who came to Holland were younger people, often young men who crossed before coming to Holland six of seven safe countries in order to be in Holland. If they just wanted to be safe, they would have stopped at Turkey or maybe if you find Turkey unsafe, in Greece.
The [character] that I was able to crawl into the most was Lilo from Lilo & Stitch. This was sort of a cartoony-looking girl, but her problems were completely real. Her funky world that she createdI mean, you know kids like that. It was very honest and genuine and I wanted to do an honest job, so I thought about the character a lot before I animated it. I really got into the character, where [I] almost felt that pain that she had. The loss of the parents - you need to feel all that. That was a big learning experience for me.
I didn't know anything about Opus Die except from pop culture, like Dan Brown novels, which I knew wasn't really knowing anything about Opus Die.
My experience with playing in odd time signatures was progressive rock and learning King Crimson songs as a kid coming up and maybe learning Pink Floyd, 'Money,' that kind of thing.
So you have the challenge of just learning the lines, period, and not only learning them, but learning them to the extent that you assimilate them, so that you're not worried about what the next word is coming out of your mouth when it comes to doing a scene. And you're also in the trenches with the writers, just in the wonderful kind of back and forth of how is it best to say something, even if it involves four or five words. I love that kind of thing.
I like coming up with new characters. Whether it's revamping an old character no one likes or just coming up with brand-new stuff, that's kind of what excited me as an artist.
Amanda [Bynes] and I are the same age so I grew up watching her and really looking up to her and for me, to see this path that's happening and to watch it, is kind of really affecting me in ways that I didn't think it would. It's weird to be in a situation where you can't help. I obviously don't know her at all but I want to bring her back and I want to make her happy and healthy for some reason and she's not there and we can't do anything to help so it kind of sucks. All we're doing is hurting it.
For most of human history, we could only watch, like bystanders, the beautiful dance of Nature. But today, we are on the cusp of an epoch-making transition, from being passive observers of Nature to being active choreographers of Nature. The Age of Discovery in science is coming to a close, opening up an Age of Mastery.
[My mother] was the oldest of two sisters and two brothers, and she grew up with her brothers, who were about her age. She grew up, to the age of ten, like a wild colt, and then all of a sudden that was over. They had forced on her her 'woman's destiny' by saying, 'This isn't done, this isn't good, this isn't worthy of a lady.'
There are two styles of walls "opus reticulatum," now used by everybody and the ancient style called "opus incertum." Of these, the reticulatum looks better, but its construction makes it likely to crack. On the other hand, in the opus incertum, the rubble lying in courses and imbricated, makes a wall which though not beautiful, is stronger.
The convention of the coming-of-age story and the love story were literally abandoned - because they had to be - and a new kind of coming-of-age and love story emerged that required a different kind of telling the story.
Eragon started as me but ended up evolving into his very own character, .. Even as he has gone through his coming- of- age story, the process of writing and publishing these novels has been my own coming- of- age story. There are parallels between my own experience and Eragon's, but fortunately, I don't have people charging at me with swords.
If you look at the opening of 'Private Ryan,' you are so in the point of view of those guys and there is a whole world swirling all around them. You are learning that geography as they are learning it.
I saw a new world coming rapidly. More scientific, efficient, yes. More cures for the old sicknesses. Very good. But a harsh, cruel, world. And I saw a little girl, her eyes tightly closed, holding to her breast the old kind world, one that she knew in her heart could not remain, and she was holding it and pleading, never to let her go.
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