A Quote by Deepti Naval
Where is the need to go deep into the character and all that? Concentrate on one thing - looking beautiful in front of the camera at all times! That was one lesson I could never learn... trade the inside for the outside!
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A lot of the times, if relationships go badly, you concentrate on the negative. But in those situations, there is always a positive outcome that you can learn from. So, I like to concentrate on the lesson and how I can learn from this. I concentrate on me rather than concentrating on the actual situation.
I know that I want to concentrate more on my inside-pretty than my outside-pretty, because thats gonna go away. But if your inside is beautiful, it never wears away. The light always shows on the outside if you are striving to be good inside.
We will always be attracted to the situation or person that we need, in any given moment, in order to learn whatever lesson that we need to learn. The most important thing is to learn the lesson quickly, let go, and then move on.
As we do at such times I turned on my automatic pilot and went through the motions of normalcy on the outside, so that I could concentrate all my powers on surviving the near-mortal wound inside.
How many understand that Nature is the essential character of whatever is. It's something you'll find by looking not at, but in, always in. It's always inside the thing, and it makes the outside. And some day, when you get sufficiently proficient in understanding the use of the term, you can tell by the outside pretty much from what's inside.
The thing I remember most about space is the view from the spacewalk. When I was inside the space shuttle and looking through the window, you can see the earth and the stars, and it's very beautiful, but it's like looking at an aquarium, sort of. When you go outside and spacewalk, you become a scuba diver.
You never learn to act in front of a camera. You never learn anything in front of a camera. But you learn to act in a rehearsal room with a good play and a good cast and a good director.
We're at 103,000 feet. Looking out over a very beautiful, beautiful world . . . a hostile sky. As you look up the sky looks beautiful but hostile. As you sit here you realize that Man will never conquer space. He will learn to live with it, but he will never conquer it. Can see for over 400 miles. Beneath me I can see the clouds. . . . They are beautiful . . . looking through my mirror the sky is absolutely black. Void of anything. . . . I can see the beautiful blue of the sky and above that it goes into a deep, deep, dark, indescribable blue which no artist can ever duplicate. It's fantastic.
Really, the fundamental, ultimate mystery -- the only thing you need to know to understand the deepest metaphysical secrets -- is this: that for every outside there is an inside and for every inside there is an outside, and although they are different, they go together.
I could never imagine myself acting in front of a camera or doing anything in front of the camera. I was a very shy girl.
When the photographer is nearby, I like to say, 'Quick, get a photo of me looking into the camera,' because I'm never looking into the camera. Christopher Nolan looks into the camera, but I think most directors don't, so whenever you see a picture of a director looking at the camera, it's fake.
Geography was the lesson I always looked forward to most. It was a form of escapism. It could be bleak midwinter outside but inside you're learning about African farming methods or the Great Lakes. No other lesson had that excitement.
As beautiful as Halle is on the outside, she's 10 times more beautiful on the inside.
I've never been interested in watching or reading anything because it's the hero's story. I don't feel the need to be inspired by the character or learn a lesson. I feel the need to be engaged by them.
You might have, as a character, 30 pages of dialogue a day if you're what they call a 'front-burner story.' So you go home, you learn your lines for the next day, you get up, you're there at 7 in the morning, you do a quick rehearsal, you're on camera, you might leave, you know, at 7 at night and start the whole thing over again.
I don't like to put too much effort into things. I find that once you get involved with special effects it is no longer about what is happening in front of the camera and I really want to concentrate on what is happening in front of the camera, like the man apparently peeing on the surface of the screen.
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