A Quote by John Leeson

No, I'm at full height, I'm in the studio, I can actually catch actors by the eye, it's fantastic. — © John Leeson
No, I'm at full height, I'm in the studio, I can actually catch actors by the eye, it's fantastic.
Actually, because of new technologies, my full studio is on my laptop. And I have a little keyboard in my bag. I can make everything I do come from my laptop. Even when I go to a big studio, all I do is to plug in my laptops. That's they way I do it.
As love is full of unbefitting strains, All wanton as a child, skipping and vain, Form'd by the eye and therefore, like the eye, Full of strange shapes, of habits and of forms, Varying in subjects as the eye doth roll To every varied object in his glance
This is something I haven't told many people, because it's embarrassing. We always used to catch flies with our hands. I was the only one who could catch 'em. One-handed, two-handed. I actually studied flies. I'd watch 'em. How do you catch flies? They fly up. If I can catch that, I can catch anything.
I've trained women to be catch wrestlers. Shayna Baszler's a catch wrestler, she's clearly not a heavyweight. Megumi Fujii, far from being a heavyweight, and she was a fantastic catch wrestler.
I love that process in which there is no safety net. Then the actor also can allow mistakes, because there's no such a thing as a mistake. You're working with good actors, that thing that starts as a mistake becomes actually the life of what is going to follow in the scene. I find that it is fantastic, and for me it is easier than for the actors.
I don't like it when people don't look me dead in the eye. I move my head around trying to catch their eye.
It takes awhile for writers to get to know actors rhythms, not just as actors, but what they bring to the characters. I think it takes a few episodes for the writing room to catch up to the actors and vice versa.
I've never put myself in the mindset that I'm actually any good at taking pictures, I just love to shoot things that catch my eye, whether it's landscapes or just my kids.
I'd love to perform with other actors and act with actors, true actors. I would like to be in a movie and have full room for acting.
Recording at Compass Point was really fantastic. When you're in the studio, you could be anywhere: It could be snowing outside or whatever. But it's great fun when you come out of the studio and are greeted by nice weather and good bars.
When we did 'The Jewel In The Crown,' we filmed in India first so the actors had an idea of what the heat was like, what it did to you - it slows you down; it's weighty: the air that you breathe is full of humidity. You are aware of the fact that you're not in a studio in Manchester.
When you see a person, do you just concentrate on their looks? It's just a first impression. Then there's someone who doesn't catch your eye immediately, but you talk to them and they become the most beautiful thing in the world. The greatest actors aren't what you would call beautiful sex symbols.
There are people in communities who are actually out there fighting poverty eye-to-eye, soul-to-soul, in neighborhoods that actually do well, that succeed. But for government, I think in many cases, they could do more.
In terms of animation, animators are actors as well. They are fantastic actors. They have to draw from how they feel emotionally about the beat of a scene that they're working on. They work collaboratively.
Somewhere in talking and rehearsing, there is a magical moment where actors catch a current, they're on the right road. If they really catch it, then whatever they do from then on is correct and it all comes out of them from that point on.
My favorite part of the whole filmmaking process is working with a fantastic cinematographer, a fantastic actor or actors, and then just creating emotions and stories. I get so excited by that. That's the part I'm utterly addicted to.
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