Top 1200 Screen Time Quotes & Sayings - Page 5

I have been approached twice before for Mahadev.' But they were for some other characters. This was the third time. I didn't want to say no because being an Indian we are all attached to Ramayan and Mahabharat and it is an honor for me to play Sita on screen.

Television is our culture's principal mode of knowing about itself. Therefore -- and this is the critical point -- how television stages the world becomes the model for how the world is properly to be staged. It is not merely that on the television screen entertainment is the metaphor for all discourse. It is that off the screen the same metaphor prevails. (92)

I don't enjoy sitting with make-up all the time and that is why I have decided to go for the natural look. Not only me, I think given a choice, everybody would prefer such a look on screen.

I was about 10 years old. I just remember the film Enter the Dragon with Bruce Lee blowing my mind on the screen and I thought to myself, "That's what I want to do for a living when I'm older." Bruce Lee was so magnetic and charismatic and held the screen so well. It's just a very powerful performance in that film. That's the first memory I have - him in that movie.

I hated seeing myself on screen. I was full of complexes. I hated my face for a very, very long time.

What a costume designer does is a cross between magic and camouflage. We create the illusion of changing the actors into what they are not. We ask the public to believe that every time they see a performer on the screen he's become a different person.

People find it hard to get their heads around nominating a computer-generated character, but every time you see Gollum on the screen, that's me who is acting up there - even if it is behind a mass of pixels - and it's my voice you hear.

I've played a ghost, cat, snake. I've been funny, sad. I've been filmed flying on screen. So why not spend time on something else? I don't need to accept everything I'm offered.

The only thing I can say is that people requested,when The Exorcist it going to be on the big screen? People want it on the big screen and they want to see the footage. I think it's going to do very well. I think it will please people, and the fact that they added the new sound.

My first film, 'Like Minds,' was with Toni Colette, who was extraordinary. I mean it was basically a mini-masterclass for acting on film at a time when all you could probably see were my eyebrows bouncing up and down on screen.

My own musical ambitions were born when I was five, watching the Ed Sullivan Show on TV. When Elvis Presley burst on to the screen, singing 'Don't Be Cruel,' I felt my first sexual thrill, though I didn't know what it was at the time.

I'm a great believer in conversational rhythm. I think in terms of rhythmic dialogue. It's so easy, you can talk naturally. It's like peas rolling off a knife. Take the great screen actors and actresses, Bette Davis, Eddie Robinson, Jimmy Cagney, Spencer Tracy. They all talk in rhythm. And rhythm and movement are the life of the screen.

What I tell my kids is, 'I'm preparing you for college and for life. So, having independence, knowing how to set your own boundaries, figuring out how to make that balance. We still have screen-time rules.'

When I look up at the screen and see myself I always have to laugh. Not because I think I'm doing a horrible job, quite the contrary, I just feel it's so surreal to feel like one person can entertain so many at one time.

I'm a Brit and I just put myself on tape, back in London, for a very distant American project that I thought I didn't stand a chance of getting. And then, I got a call about a week after I had submitted my tape, just saying, "They really like you and want to screen test you." So, I flew to L.A. and did the screen test. And then, I met Elijah [Wood] and did a screen test with him. And then, I had a very nerve-wracking few days back home, waiting and waiting and thinking, "This cannot possibly go my way because that would just be too good to be true." And then, it did.

In professional wrestling, I think that they want you to be bigger than life. It's almost like an over-acting type thing - whereas on the big screen, you're 35 feet and they've got a close-up of you to put it on the screen in the movie house. At 35 feet, it's more subtlety than the overboard drama that we do in pro wrestling.

People need a time to laugh. It's up to us to bonk ourselves on the head and slip on a banana peel so the average guy can say, 'I may be bad, honey, but I'm not as much of an idiot as that guy on the screen.'

People... need a time to laugh. It's up to us to bonk ourselves on the head and slip on a banana peel so the average guy can say, 'I may be bad, honey, but I'm not as much of an idiot as that guy on the screen.'

My daughter thinks that only her mum is on the television. Every time she sees the screen anywhere she's like mummy! Because we don't let her watch the TV.

Although a lot of pain for a little screen time; Shaving legs, waxing eyebrows, high heels, trying to put on a bra, losing weight because women's clothes are SO revealing - Ladies you have my respect.

It's true you have to screen out a lot living in the city. I stayed away from New York for a long time after college, and when I was first back, I'd read The Village Voice and feel like I was having a panic attack.

By the time someone gave me some samples of standard screenplays I was already beyond that stuff, because I was not only a tinkerer in ways to do things, I'd started from Dylan Thomas. As a screen dramatist he was a very intense visualist, with great timing and fluency.

I could take my grandma and put her in a cape, and they'll put her on a green screen, and they'll have stunt doubles come in and do all the action. Anybody can do it. They're relying on stunt doubles and green screen and $200 million budgets - it's all CGI created. To me, it's not authentic.

The representation of gay characters on screen is important for us all to think about because there are sadly too few representations of gay characters on screen in mainstream cinema. If Marvel starts making movies about gay superheroes, then we'll be in a really great place. We're not at that place.

I think I'd rather do [acting] in the real place. It requires different things, working with green screen, but its an imaginative exercise anyway, the whole business of acting, so it just gives you a bit more to feed the imagination. Unless it's really silly, just two of you stuck in a space with nothing but green screen that's got to be pretty difficult.

What a costume designer does is a cross between magic and camouflage. We create the illusion of changing the actors into what they are not. We ask the public to believe that every time they see a performer on the screen, he's become a different person.

Even on a large ensemble where their parts are relatively small - because having ten main characters obviously affects their screen time - the thing that attracts great actors is when there is that challenge to get some reality into something.

Sometimes you read things that people don't even notice in a performance, that you just are moved by or understand that this actor is really living his or her life on the screen. The first time I realized that was when I watched Brando in 'On the Waterfront.'

When you are dealing with approximately two-plus hours every few years to do a story, you don't have the luxury of having excessive screen time to explore, in detail and in-depth, lots of other subsidiary or ancillary supporting characters.

It's not in my nature to chop people's heads off, per se, or rob a bank or any crazy thing I've done on screen. I'm just comfortable reading a book or spending time with my wife and my daughter or watching the fight on TV with the fellas.

So what? A lobbyist cheated Indian tribes out of $25 million then laundered their money through phony Christian charities trying to stop other Indian tribes from getting casinos [on screen: 'Thou Shalt Not Compete'] and bribe congressmen in the process. Know what I call that? I call that business as usual in Washington. [on screen: 'Screwing Indians']

A screen actor is compensated in the knowledge that millions will see his performance at one time, where only hundreds will see it on the stage.

What I tell my kids is, I’m preparing you for college and for life. So, having independence, knowing how to set your own boundaries, figuring out how to make that balance. We still have screen time rules.

Every time we have a woman on-screen, we can empower her in a different way rather than just giving a speech on the importance of equality and empowerment. I think sometimes we have to show her as powerful.

We tend to block off many of our senses when we're staring at a screen. Nature time can literally bring us to our senses.

There are people who expect me to look the way I do on-screen, where I have a great director of photography and fantastic lighting. I'm sorry to disappoint people, but I don't look like that all the time - no actress does.

Over time as an actor, your life with a project can be so short lived because you come on, you do it, and then you're done. You have no control, no say, and all of a sudden there's all of this distance between the work you've put into something and the product as you see it appear on-screen.

TV taste is an aftertaste. Whatever gets on the tube is always a foregone conclusion, a fait accompli. That is, any new ideas or social changes have already been fought for in the real world of the streets, or in the bedroom or even the law courts long before they reach the screen. By the time you see it on prime time, it's usually all over and done with, whatever it was. Television by definition is not avant garde. It is often reactionary and always sentimental.

I agree I'd like to do more work. But the right kind of roles has to be offered to me. I'm not saying the roles need to be realistic all the time, though that's what I like connecting with on screen.

I do not think that there need be the conflict between books and videos, that one would drive out the other. It certainly is possible to watch the screen for some things and for others to sit down and read, because the screen is easier to do, to watch is easier than to read because you don't have to contemplate anything. Someone else has done the work of putting it on the video.

Casablanca is back on the big screen in a new print and looks and sounds better as time goes by. It is the product of numerous accidents, all of them happy, and I laugh, cry and have my better instincts appealed to whenever I see it.

I have come close to producing films. But generally by the time they hit the screen, there's about 50 people with producer credits, so what's the point. I usually find scripts I like with no money attached and take them to producers that I know and try to raise finance.

I loved the tone and the characters. They're all very different and they're all very typical for their time. When you read the screenplay you feel like meeting them and getting them off the page and on to the screen.

It's every actor's dream to be seen on the big screen. Having said that, it's also imperative to better yourself as an actor all the time. In that, all mediums become important in their own ways.

There are more clocks than ever - clocks on computers, on cell phones, on televisions, on any screen available, telling time to the digital second - but they all seem to matter less.

When you look at the whole explosion of the Internet, the decline of print journalism, there are all of these plus-or-minus ramifications, and you have to work it out. The great thing about books is that you have a tactile thing that's there. You can download this or download that, but how long do you want to be staring at a screen for the rest of your life? You've got to have some kind of proper interface for people that's not about the screen.

Mobile is great for us. I think, even though the size of the screen doesn't give everything The New Yorker has to offer, people are spending a lot of time reading - and reading seriously - on the phone.

When you're part of an ensemble and share the screen with so many people, you become close to them because you're hanging out all the time. Obviously you have your ups and downs, but that kind of brings you closer in many ways.

When you're writing for the screen you're really thinking all the time of what you have to do to make sure that they have the information that they need, that the emotional thread is not snapped, that the story moves at the right speed, to keep the audience hopefully sitting on the edge of their seats or else weeping or laughing.

I've been a fan of movies longer than anything else. One thing I learned a long time ago is that you can't translate a book literally to the screen. It won't work because it's a different medium. And it would be the same in reverse.

Being in Silicon Valley makes me strict when it comes to my children's technology use. I am surrounded by it all day, so I try to avoid it when I get home. I set screen-time limits, because I think it's good to diversify activities.

I open myself up every time I walk on screen and give you everything that I am. There are parts of me that are in every movie that I've done. That to me is what my job is.

It does not mean that in the process of a small screen, I do small acting, or if I do a big screen project, I do big acting. For the actor, it does not matter.

You need someone to tell you how to do things like hitting your marks, or driving a car so it looks right or getting out of a car so it doesn't take a million years of screen time.

Britain has had a very honourable tradition of literary sci-fi - H. G. Wells, John Wyndham, J. G. Ballard, Brian Aldiss, Michael Moorcock - but for whatever reason, they have never really been given the time of day on screen.

I remember the first time that my Nana introduced me to Eartha Kitt. Seeing a fierce Black woman on screen being unapologetically confident - just her essence that she had was so captivating.

The most exciting time is when I think of an idea and how I imagine I can make it. It would be wonderful if there was a projector inside my eye that and it could just put the idea on the screen for people to see.

Some researchers sensibly suggest that rather than worrying too much about which programs our children are watching, we should concentrate on trying to reduce the total amount of time they spend in front of the screen.

When it comes to acting on green screen, it doesn't really make all that much of a difference to me because how you interact with your environment or characters is always dictated by your imagination. So when you're acting against a green screen, you have more of an opportunity to create your own world. So what was magical throughout this process was watching this movie come to life with the 3D.

I'll be honest with you, being 37 years old, I'm thinking maybe it is time to do something behind the screen. Something more on the creative side than being a talent.