A Quote by Elia Kazan
The physical life of the scene is determined by whether the set squeezes people together or whether the set has an escape place in it.
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Well can I just say unlike my predecessors, Conservative and Labour, I have set up an independent body that studies whether what I'm saying is true, whether I've met the targets that I set out.
Our job is to represent the truth of human nature, whether you're playing a tender love story that's set in a coffee shop or whether you're in 'The Avengers,' which is set in a Manhattan which is exploding.
I set goals, but they're mostly very personal goals. I never try and set a goal where 'I want to win this,' or 'I want to do this,' where other people can affect what I do. If I want to swim a new best time, I sit down and work out the best way of doing that. Whether I can shave a few tenths of a second off a turn or the start, my goal is putting them all together in a race. That's the way I set my goals.
There is no such thing as too ordinary to write about, whether that's life or a scene in a novel. What's interesting to people, whether it's memoir or fiction, is the truth.
A man could be a lover and defender of the wilderness without ever in his lifetime leaving the boundaries of asphalt, powerlines, and right-angled surfaces. We need wilderness whether or not we ever set foot in it. We need a refuge even though we may never need to set foot in it. We need the possibility of escape as surely as we need hope; without it the life of the cities would drive all men into crime or drugs or psychoanalysis.
When you have the smaller guards - whether it be 6 feet, 6-2, 6-1, or under - they're the most energetic, and they set the pace, whether it be shoot-around, practice, and in the game.
Contemporary philosophers are facing problems that were unthinkable only one century ago, such as whether space and time are mutually Independent, whether there is objective chance or only uncertainty, whether physics can explain chemical change, whether our behavior is fully determined by our genomes, whether ideation can change the brain, or whether either the economy or ideas are the ultimate roots of the social.
You have every right to set yourselves targets and whether you achieve it or not is entirely a different matter but at least you have to be ambitious and set yourself challenging goals.
On the whole, a director who make the set a comfortable place to work is really important, whether it's a comedy or drama.
I generally enjoy the rehearsal process because that's where you can share your ideas, get your thoughts and feelings out and see whether or not they're going to land, whether or not people are going to agree with them, particularly the director. So you can sort out in that process any elements that need to be sorted out before you're on the set, and of course that saves time and it also makes everyone more comfortable working together.
One thing that is very different technically is that you don't get a lot of coverage in television. Not like you do on a film. I know we don't have time for separate set-ups, so I will design a scene where I'm hiding multiple cameras within that set-up. That way, if I don't have time to do five set-ups, I can do four cameras in one set-up. It's a different kind of approach for that. For the most part, a lot of television, in a visual sense, lacks time for the atmosphere and putting you in a place.
To me, the most important thing - aside from meeting people's physical needs, whether that's education, health care, clothing, food, a roof over their heads - is changing the mind-set and educating people. And most of all, most important, is empowering people and making them self-sustaining.
I come from the mind-set that, if you want it to work, it will work, whether it's a friendship or a relationship. If you're both in the same mind-set and you want to be together and you want to make it work, you can make it work. It just takes dedication and knowing that there might be some miscommunication and lack of communication sometimes.
Whether it's one scene or 15 scenes in a film, whether it's the lead or a cameo part, if I don't find it interesting, I tend not to do it. You never really know what it is. It could be a one-scene part. I remember I read the one scene in Crash and was asked to do it. I was like, "Absolutely!" There's no formula for how something has to be. I always try to keep it that way.
If you really got the right people, and you've got them working together as a team, whether it's in business, whether it's in science, whether it's in politics, you can make a big difference.
The moral issues with which Marcus struggles would be, as he points out, unchanged whether the universe were mechanical and devoid of meaning or value or ruled by deity or Providence; whether the will were in fact free or determined; whether there were or were not a future life, or any even fugitive rewards and punishments at all.
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