A Quote by Andrew Davies
Most actors hate readthroughs - they're exposing themselves before they're ready to, and before they've bonded. But I love them because they give us all the first inkling of what the whole show is going to be like, how each part affects every other part, and we won't see that again until it's all edited together.
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The best thing you can do with actors is collaborate with them. My job is to inspire them to give their best. And they're only inspired if they feel they are part of the creative process, otherwise they'll shut down. So my goal is always to ask people what they would like to do before I even say my opinion. I usually don't know anything until I see it. I'm a fetish filmmaker - I make films based on what I want to see.
I used to think of two people in love like that. Like puzzle pieces, fitting together. But it's not like that at all. Love pulls a part of you out, and it pulls a part of him - like taffy, stretching but not separating. The tendrils of each one wrap around the other, until they meld together. One, but not quite. Separate, but not quite.
Yet here we are, two children and a broken promise later, standing before each other, just the way we stood that day at the alter, with equal parts love and hope. And once again, I close my eyes, ready to take a leap of faith, ready for the long, hard road ahead. I have no idea how it's going to turn out, but then again, I never really did.
We all work together to pump each other up. Before the show [Aladdin], we give each other a pound on the back, like a sports team.
Maybe we've lived a thousand lives before this one and in each of them we've found each other... I know I've spent every life before this one searching for you. Not someone like you but you, for your soul and mine must always come together.
Every relationship has a hard part at the beginning. This is our hard part. It's not like a puzzle piece where there's an instant fit. With relationships, you have to shape the pieces on each end before they go perfectly together.
The important thing is allowing the whole world to wake up. Part of allowing the whole world to wake up is recognizing that the whole world is free—everybody is free to be as they are. Until the whole world is free to agree with you or disagree with you, until you have given the freedom to everyone to like you or not like you, to love you or hate you, to see things as you see them or to see things differently—until you have given the whole world its freedom—you’ll never have your freedom.
The foundation of all human knowledge, the beginning of human consciousness, must be that each and every one of us is an object of love. Before you know if you have red hair or brown, before you know if you are black or white, before you know of what religion you are a part, you have to know that you are loved
How much is enough? How much does anyone require? Can I be both kind and tough? Can I put faith before desire? Right now, for all time, I vow to try . . . I volunteer to be simple, I volunteer to love, Every living thing like a mountain stream that flows out o'er the land. I volunteer for the journey from here to heaven's gate. I will do my part I place my heart in Your gracious hands . . . How then shall we live? Let us live lightly as a feather. How much shall we give? Let us give everything, together One heart, one mind, all humankind... I volunteer.
Many boys, probably most boys, have a first love before they fall in love with a woman. It begins the moment two boys realize they'd die for one another, that each cares more for the other than he does for himself, and it lasts usually until a second love comes on the scene, because most hearts aren't big enough to love more than one person like that.
People create the illusion of acting natural, which is what I think most documentarians do in part because of the direct cinema orthodoxies that came into play really in the '60s. That moment of performance is a tremendous opportunity to make visible something hitherto invisible, which is how people want to be seen. How do they see themselves? What are the scripts, fantasies, genres by which they imagine themselves? How is storytelling part of what we are as human beings? We wouldn't kill each other en masse if it weren't for storytelling. We wouldn't be able to live with ourselves.
I think it was there before, but - because of social media, too - there are these people who fancy themselves as tolerant, and don't see the hypocrisy and double standard of how they're not tolerant at all, and they're just strident and they don't listen. There's no dialogue anymore. That's maybe, truly, the worst part of Trump's legacy is just people yelling at each other.
The coaches hate each other, the players hate each other... There's no calling each other after the game and inviting each other out to dinner. But the feeling's mutual: They don't like us, and we don't like them. There's no need to hide it, they know it, and we know it. It's going to be one of those black and blue games.
One of the things I love about directing is I love actors, because no matter how complex they are, once you get down to working and talking to them and the toughest guy will want you to open them up and he wants to show you stuff he was afraid to show anybody before.
Love is at once the most creative and yet simultaneously destructive force in the world, and thus, in our lives. And I don't mean the Hallmark sentimental type of love, although that is part of it. But a deeper obligation that we have to each other: the obligation to reflect our humanness at each other, to reflect back the things others show us and we, them.
I write one step at a time, always finishing off the part I'm working on before even thinking about the next part. I need to hear it all together before deciding what goes next. I even mix before moving on...in other words, I write by recording.
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