Top 406 Arc Quotes & Sayings - Page 4

As a people, our monuments never commemorate victories. They commemorate the names of the fallen. We don't need the Arc de Triomphe; we have Masada, Tel-Hai, and the Warsaw Ghetto - where the battle was lost, but the war of Jewish existence was won.

We do long-form-style improv. Our focus was characters and telling a long arc story over about an hour and a half. It was closer to a one-act play than one-off sketches.

In every take, that you're not sure of what they're going to cut and paste together and what the arc or the purpose or the intention of your character's journey will be in the story. You don't have control. Sometimes that's wonderful, and sometimes that can be scary.

Sometimes it can seem that history is turning in a wide arc, toward an unknown shore. Yet the destination of history is determined by human action, and every great movement of history comes to a point of choosing.

Whenever a woman describes herself as a 'post-feminist' I picture women lashed to posts. Joan of Arc was an early post-feminist.

When you're in sync with the director, on the type of movie you want to make, the arc of the characters, how the characters intertwine and interact, plotlines and story, and things like that, it really makes a difference.

I think every woman character, every female character, has her own arc.

When you go to a great concert, you feel this arc, almost like the music of a well-chosen set takes you on this trip through emotions and through various forms of intellectual engagement.

You're creating a score that has to have an emotional and story logic to it. You want a dramatic arc. You want all the songs to push story forward. That's the same whether it's for stage or film or television or whatever.

When something changes in Episode 7, you have to then begin moving things around, shuffling things backwards. Once you start moving material into it, that can derail your whole arc.

The joy of 'Crash' was that it was all about the work. It was my first real part. Before that, it was a line here and there, maybe a scene. 'Crash' was five scenes, a beautiful arc, a little vignette of my own. It really meant something.

I owe my entire to theatre. Simply because, I got so many chances to practice. Playing the same character for days, I could understand and practice on how to build that emotional arc.

We've lost leaders from Abraham Lincoln to Martin Luther King, Jr. and countless others who have worked to bend the arc of the universe towards justice and equality. Yet, we remain undaunted, dedicated to striving for a fairer, more equal society.

It's an interesting arc. You start with a character [Doctor Strange] who's likeable and charming but very arrogant and distant. He's funny but you can see there are massive holes in his life. It's a very painful transition and all that he becomes is tested so quickly and violently.

Hats off to Julian and Johnny, the producers, for sticking to their guns with the five-season story arc of 'Merlin'. It would have been too easy to give in to demand and stretch the show on beyond their original plan because of its incredible success.

For me, one thing I love is having an arc for a character. I love being able to see a character go through something and to learn.

I do not pretend to understand the moral universe; the arc is a long one, my eye reaches but little ways; I cannot calculate the curve and complete the figure by the experience of sight, I can divine it by conscience. And from what I see I am sure it bends towards justice.

As I was researching, I was struck by how similar the Boxers were to Joan of Arc. Joan was basically a French Boxer. She was a poor teenager who wanted to do something about the foreign aggressors invading her homeland.

By the time Joan of Arc was 16 and had proclaimed herself the virgin warrior sent by God to deliver France from her enemies, the English, she had been receiving the counsel of angels for three years.

It turns out that the left temporal lobe, if there's a lesion there, will create hyper-religiosity. People become super-religious. They see demons and spirits everywhere. We think Joan of Arc may have had it.

'Goldenheart' is like a modern-day Joan of Arc. Think of it like medieval times-cum-2045 or Lancelot and Guinevere in 3025. It's a new version of these battles - age-old stories for the now.

I'd like to do the young cadet thing again for sure, but that's why I wanted to do this, to see if I could do it. I took the scenes out of the script and put them together and read them as one little arc, story and that seemed to work.

It sounds corny, but it's absolutely true: A song chooses me. I don't go looking for a certain kind of lyric. It kind of develops its own little arc and I'll just see what happens.

We're just four girls with attitude, aren't we? It just happened naturally. And with songs like 'Joan of Arc,' they needed that rap-y take on it. 'Wasabi' has that clap-back-to-the-haters vibe.

Well, in Twilight, I started out dying my hair blonde. And then, as the movie progressed, I wore wigs. The wigs went through a transformation. In Breaking Dawn, it's a little longer. That's my arc.

I... was not too happy to suddenly take on this public role thrust upon me. They just assumed I was the Joan of Arc of the women's movement. And I wasn't at all. It put a lot of unnecessary pressure on me.

A funny thing about film is that it's the only medium where people say there are really rules that you have to stick to. Nobody says to the writer - in a film you've got to have three acts - there's a character arc you have to do - there's no reason that's true.

For me, a tour show should have a narrative; it should have an arc. It shouldn't just be, "Here's one joke, here's another joke." That's not my style. They all have to somehow link together.

I kind of approach action/non-action very much similarly. It has to be character-based and it has to kind of come off the theme and the overall arc.

Going into the second arc, I'm making a conscious effort to do something I say I never do, which is to change my style because of feedback. I'm trying to make 'Pretty Deadly' more accessible by being more clear in the writing.

Joan of Arc should be played as a "pain in the ass" and how do I know she was a "pain in the ass"? ... because they burn her at the end.

Well, I don't know what Ron has in mind, but I do know about the arc of the show. Looking at how intuitive and instinctive Eddie and I play, that is the sort of thing that leads into sexual chemistry. I wouldn't be surprised if it emerged.

'The Real World' is the most predictable arc ever. They get on the show, they're all excited, we're gonna be best friends, then people start drinking and get hammered, and say stupid stuff, and that's pretty much it.

You can't plan your character arc - you have a vague idea, maybe, but I'm constantly surprised. Sometimes actors in films will play the ending of the movie, or even the middle, and you know where it's going - as an audience member you can read the actor.

In the work that I normally do, you have a whole script, a whole arc, that you play. And I do believe a good actor will play every bit of information they're given.

You always start a fight scene or an action scene with, 'What are we learning about this character at the moment, and how are we gonna arc him or her in the next three minutes,' and it's no different with 'Deadpool' or 'Atomic Blonde' or 'John Wick.'

My early years were hardly a model of focus, discipline, and direction. No one who met me as a teenager could have imagined my going into research and making important discoveries. No one could have predicted the arc of my career.

In documentary films, you're a storyteller using found objects. You still have to have a story arc and all the elements that make a good story. It really helped me mature as a storyteller.

In Denver, I was a homebody, and that's a life I'd chosen with great happiness. I wanted that break from the arc lights and focus on building a lovely home, have some fun, look after my kids and do things that I had missed out on while pursuing my dream.

We've got this arc of instability from North Africa to South Asia, and we have to pay close attention to it. And we have to build coalitions, something that I did to take on the Iranian nuclear program, and what I will do as president to make sure that we defeat these terrorist networks.

I ate supper after Dad saw the evening shift down the shaft, and I went to sleep to the ringing of a hammer on steel and the dry hiss of an arc welder at the little tipple machine shop during the hoot-owl shift.

I grew up in a haunting postindustrial landscape where prehistoric ferns grew among tens of railway tracks surmounted by brilliant arc lights where birds nested and sang in the dead of night, because for them, it was day.

She (Annabeth) put her hand on my spine, and my skin tingled. I (Percy) moved her fingers to the one spot that grounded me to my mortal life. A thousand volts of electricity seemed to arc through my body.

With any project, but especially in television, I always try to look at where the character is starting from and where he's going to end up, and try to find the biggest arc that makes it the most exciting to play.

People will talk about character arcs, but you look at the character arc of C-3PO from 'Star Wars' to 'Return of the Jedi,' and it's a complete 180... he's not so much of a coward and a fussbudget.

My characters often start out with a loss of some sort, usually a loss of emotion or purpose or hope. What I do in the course of my writing is weave a thematic arc of fulfillment. It is my constant theme as a creator.

A lot of the television industry is so cookie-cutter. In general, there are so many shows that are easy and bland to watch. You can tune in at any time and know exactly where you are in the story arc because it's pretty much the same every week.

I like the Hotel Costes, on rue Saint Honore, a boutique hotel near the Arc de Triomphe, the Louvre and the Tuileries. I love the dark, moody decor as well as the fantastic scented, candlelit pool in the basement.

I like it when actors get an opportunity to chew into something. They love scenes with beginnings, middles, and ends - scenes that give an arc to their characters and allow audiences to get to know these people.

Final Execution is Wolverine's spotlight arc. He goes through a crazy thing here. I think the fear with him is that he's in so many books that his growth can become stagnant. He ends this story in a very different place.

At all levels - with men and women - the 3-point shot has utterly transformed the way the game is played. More and more, the players are spread out, looking to pop behind the 3-point arc.

I prefer working, period. I think that I like doing film more just because when you get a script, you have the story from start to finish, so you can really find the character's arc, and when you walk away from it, you know you're sort of powerless to what happens.

I think that sharpens the intention of a scene and clarifies a story's arc. Of course, I don't seek the questions until after I've written a scene - or maybe after I've daydreamed it.

Individual stories from the Bible had been made into movies, but no one had taken on the arc of the Bible story as one meta-narrative from Genesis to Revelation.

I am on the International Board of Best Buddies, and I am also working with Special Olympics, and with The Arc to help people with disabilities become more independent and more included in their communities.

My first job was a commercial for a Swiss insurance company. It was an eight-minute short with a proper story arc, and it ended up getting a spot at Cannes Lions; I was lucky to avoid the commercials where you're their puppet.

Is it a spiral of water in the tragic gleam of a revolver, an egg, a glistening arc or the floodgate of reason, a keen ear attuned to a mineral hiss, or a turbine of algebraic formulas? (On Man Ray's first photograms, 1921.)

I'm not like Jonathan Hickman, who's able to sort of plot out three years of a book ahead of time. I'm much more of a guy who plots out an arc or two at a time.

The voice for 'Surly' is, of course, very close to my own voice, but it's informed a lot by this story, by the arc and the animation and working with the whole creative team on 'The Nut Job' in finding what really works.

I was fortunate enough to do an HBO show, 'Rome,' in which my arc was built in by historical fact, and over the course of 22 episodes, we were able to tell the stories of these people. We had a beginning and middle and end, and as we went on, you changed every week.