A Quote by Andrew Wyeth
I prefer winter and fall, when you feel the bone structure of the landscape. Something waits beneath it; the whole story doesn't show.
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The way that I work as an actress, I always prefer to read the whole story and tell the whole story and feel what the whole story's going to be, the journey for the audience and how it ebbs and flows, the highs and the lows.
When death comes, it's just like winter. We don't say, "There ought not to be winter." That the winter season, when the leaves fall and the snow comes, is some kind of defeat, something which we should hold out against. No. Winter is part of the natural course of events. No winter, no summer. No cold, no heat.
In a traditional Japanese or Chinese garden, it's not only about the building or temple but about the whole setup - the structure, the landscape, the light, the plants, the water. The whole experience that makes your life there so beautiful.
There's always [on women's magazines] that great photo of the actress or model lifting up her shirt just to show you the bone structure and the six-pack of her own. It's almost like when horses are auctioned and they show you their teeth. 'Am I good enough?'
With my personal work I prefer not to work from storyboards because being a director, producer and animator in one person I don't have to communicate my idea to anyone else, I can keep the feeling of the story, the story arc and structure in my head.
Many mothers or daughters assume that words only mean one thing. 'If I feel criticised, that has to be the whole story', and 'if I feel I am being helpful, that has to be the whole story'.
Well, I think if you're telling a story, a three act structure will just naturally emerge out of it. But I also love it when a film doesn't feel like it's anchored too rigidly to that structure and you feel like anything could happen.
I can only wonder what astronauts must feel like or something like that when you're really in the space of silence and you are feeling and breathing in a way that you're really aware of your muscle and bone and the breath and the body and the movement and all of those things that just you take for granted in the urban landscape.
If you're gonna tell a story from beginning to end, I always think you have to have a great structure in a script. If it gets you excited and it's something you've never read before that's another plus. I think also with improv and that whole world of stand-up, that's a whole other organism of comedy that still needs a story, but it's more free-form. On the set, it is the combination of both those worlds coming together: a great script and an allowance to play with it.
I'm conflicted. On one hand, I don't want to say that because you were a man and now you're a woman, you can't be in a women's fashion show. But I feel it's a dicey issue. The fact of the matter is, when you are transgender - if you go, say, male to female - you're not having your pelvis broken and having it expanded surgically. You still have the anatomical bone structure of a man.
Smiley Bone: You can't feel safe unless there's something to be safe against! Phoney Bone: Exactly! People like to be victims! There's a certain unassailable moral superiority about it.
'The A-Team' compared to making 'Narc' was a breeze. There's a whole other skill set and whole other kind of bone structure that goes into making a movie like 'Narc' versus 'The A-Team.'
The tendinous part of the mind, so to speak, is more developed in winter; the fleshy, in summer. I should say winter had given the bone and sinew to literature, summer the tissues and the blood.
Life on earth is such a good story you cannot afford to miss the beginning... Beneath our superficial differences we are all of us walking communities of bacteria. The world shimmers, a pointillist landscape made of tiny living beings.
I do think you fall in love when you feel that something of your story is being listened to for the first time, or you feel someone else is hearing it as no one else has ever done.
This is the story, this is your character, I have the sense of the landscape, I have the sense of the scene, I have all that stuff. But I'm also looking for something else to happen, an accident or something. You're focused on the story you intend to tell and then you have to have a peripheral net out to catch these accidents.
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