Top 1200 Screen Quotes & Sayings - Page 2

I just remember 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.

With any good projects, I feel like the off-screen chemistry factors on-screen. It's great when you don't have to force it, but when it's not there, you better focus on getting there because, as we live with these characters, we spend more time with one another than we do our families at home.

I am Chinese. I speak fluent Mandarin. And I go, 'Man, it's about time a Chinese person could step up to a Hollywood screen, and international screen, and help save the world.'

Graphic novel genre become really quite popular. It's really a big screen film genre that they have successfully moved into the small screen.

Being a naive 20-something I didn't think that I could just go to the screen cartoonist's union, that I was a member of, and scream bloody murder and they would have jumped all over this guy and said, "Oh, but yes he does get screen credit."

What actresses do today when they appear on the screen is what they did once upon a time for getting to appear on the screen.

Television is a big platform for actors, and so many actors have made it to films from there. And for me, too, it has been a great transition from the small screen to the big screen.

When you watch me on the screen, you should not be able to recognise me. If people say, you're a natural and an organic actor, that's an insult. If you're being yourself all the time on screen, that means you don't know how to act.

On screen chemistry can be very different from off screen chemistry.

That [silk-screen process experience] carried over when I returned from the Army and took more graphic classes at the Institute. And Alix [MacKenzie] and I actually began to produce a line of textiles, which had silk-screen patterns on them.

We live in a screen age, and to say to a kid, ‘I’d love for you to look at a book but I hate it when you look at the screen’ is just bizarre. It reflects our own prejudices and comfort zone. It’s nothing but fear of change, of being left out.

People can hide behind a screen. No one is going to do it at a match, in front of you, like throw a banana at a black player or something. They are very happy hiding behind a screen and being comfortable.

I feel like my job as a storyteller and director is to create an experience where the audience forgets they're in a cinema and can get lost in the story. Things popping out of the screen call attention to the artifice of what you're doing, so I use 3D as more of a window into a world behind the screen.

I always direct next to the camera and watch my actors, and so you can see the small things that you can't see on the small screen but you can definitely see on the big screen.

I started to do silk-screen in the early days of my painting training, due to a woman who taught art history at the institute, Kathleen Blackshear. She was interested in silk screen and taught a class that I took.

Small screen or big screen my job on set doesn't really change. The only difference with TV is I get to be surprised with new information just like the audience every time I get a script.

I'm a passionate person. I'm a lot of things, like most people are. Most people are dynamic. The focus is not on me though, I'm a screen. The aim is to always keep myself in the position where the screen is clear.

Often, when you see yourself on the screen, you feel like a sweater that's been put through the washing machine. You have the impression of having done something full and luminous, and suddenly, when you see it on the screen, it's turned back into a tiny little thing.

When you built television sets, you have all this test equipment. And you'd have all these lines and squares on the screen to test it. So it occurred to me that it might be fun for people to control the lines and squares on the screen.

Something I've always known about the screen is that if it's anything in the world, it's literal. It's so literal that there's a whole lot you can't do because you're stuck with the literalness of the screen. The stage is not literal.

I spend so much time on the screen when I am writing, the last thing you want to do is spend more time on the Internet looking at a screen. That's what I hate about all this technology.

I get on the airplane and there's a screen in front of everything. You get into a taxicab in New York, there's a screen blinking at you. I think it's going to have a tremendous effect on our brains, because those bright, saturated colors and those strong lines, they do things to your brain.

I hope I'm wrong, but I think the victory of the screen is going to win out. It raises the fundamental question: is the quality of reading and comprehension as good when you read it on a screen as when you read it on a physical paper?

In computers, we do all kinds of manual manipulations. We grab and drag icons. We click on and open windows. We pull down a screen. We stretch a screen. We scroll up and down.

Tony, Stacy and Jay really looked at life completely different and that played into everything that they did, whether it was skating or with their friendships. And for the three of us, we had such a close relationship off screen, that it was so easy to have that on screen.

And it is a folly to try to craft a novel for the screen, to write a novel with a screen contract in mind.

As the watcher of the screen, you are perfect. The movie that is playing on the screen might be horrendous, but you are not the movie. You are what is watching the movie.

When you're flying off soft keys on a touch screen it's a totally different feel, and a lot of muscle memory is lost. There is that delay when you look at the screen and input a command before it's executed, versus something instantaneous when you move the stick.

Innumerable lovers of Hindi cinema have lit up the big screen. But on screen, they are just two beautiful bodies. They have no caste nor religion. The love that our filmmakers imagined was little more than make-believe.

I would love to share screen with Aamir as we share a great comfort level. And ideally it should be a love story as it would be easy for us to romance on screen.

Software unification. So that I no longer care what computing device I pick up, whether it's a laptop or desktop, whether it's one I own or one in a public place, whether it has a small screen or a large screen.

It's a very different thing when you're able to read something and see it in your mind, then to imagine it on screen. It's emotional transference that you don't have in literature that you have in movies. People invest in the person they see on the screen and they can't shift gears.

Thank you, World Screen, for regularly providing me with excellent articles on international media topics. For me, World Screen is an important means of information-well-structured and reader-oriented.

What we see on the TV screen, or the film screen or what we listen to in music, we have an illusion of what Prince Charming looks like or Cinderella's gonna look like in our life and we forget about what true love really means.

I've had people ask me: 'How can you make a movie about a murderer? A terrorist?' What they don't understand is that I'm in support of everyone who appears on screen. I have to be. I take the position of everyone who's on screen. I'm not judging them one way or another.

The reason I became an actress is because I wanted my acting to reflect life as it is. I want to put truth on the screen. I want real women to see real women on the screen.

If you give an actor a green screen, the shot may work, but that green screen will not inspire you on the set as a director or as an actor.

As the cinema is changing, on-screen kissing, love-making scenes are becoming part of the narrative. I am not saying it is wrong, because it is the reflection of how our society has changed and become comfortable with it. But I am uncomfortable performing it on screen.

Who doesn't have a dark place somewhere inside him that comes out sometimes when he's looking in a mirror? Dark and light, we are all made out of shadows like the shapes on a motion-picture screen. A lot of people think that the function of the projector is to throw light on the screen, just as the function of the story-teller is to stop fooling around and simply tell what happened, but the dark places must be there too, because without the dark places there would be no image and the figure on the screen would not exist.

If I hear that a film of mine is going to be shown on a big screen somewhere and I haven't seen it in a while, I make a point to get to see it. I just want to see it up on the big screen.

My job with Sue on 'Bake Off' was to look after the bakers - and to be honest, a lot of that was done off screen as well as on screen. It's very much the same on 'Let It Shine.' You get to know people, you get involved, you want things to be alright.

What attracts me to material are characters that I know - characters that I know people don't know but I know - and bringing them to the screen. Spotlighting voices that have not been heard before on screen.

My karma doesn't seem to be a big screen karma: it's definitely a little-screen karma.

When David Goyer comes to the small screen, what he's actually doing is making the small screen bigger.

Whether one likes it or not, the screen is a profoundly important source of imagery and storytelling for this generation. For me, books remain a stunning place to tell stories, but the screen has a place.

When people see me as Gavaskar on screen, I want them to feel that they are looking at the person that they have known and when I play on screen, it should remind them of how he played.

TV is a different animal. I belong on that little screen. The big silver screen, not so much, 'cause I've seen my face up close when it's 25-feet tall. I'm okay as long as you keep me in that little box.

On 'Game of Thrones,' we always shoot away from the green screen because it's bloody expensive to shoot green screen.

It's tough to get any movie made, but unless it's a movie about race or culture or ethnicity, it's becoming less and less important who's playing what. You see that on the big screen and the small screen, and I think that's great. That's exciting.

It is shocking that the screen does not reflect the way the world is and the diversity in the world... What the world really looks like should be on screen, and it isn't.

The truth is, when I started to make films, I was terrified. I had a huge difference in what I was writing in the screenplay and what was on the screen after. Sometimes there was a big gap. Now, the more I have experienced, the more I do movies, the more I feel that the dream is closer to the screen. It's coming with experience.

I just remember Bruce Lee blowing my mind on the screen, and I thought to myself, Thats what I want to do for a living when Im older. Bruce Lee was so magnetic and charismatic and held the screen so well.

I'd rather have two minutes of screen time and have purpose than have 20 minutes of screen time in a separate track that makes no sense to the story.

Even though I'm surrounded by pupils, there is the invisible screen screen between us, and behind the glass wall I am screaming - screaming in my own silence, screaming to be noticed, to be befriended, to be liked.

Hard to believe lightning can strike twice, but it surely did. The moment Caitriona Balfe came on screen, I sat up straight and said, ‘There she is!’ She and Sam Heughan absolutely lit up the screen with fireworks.

I'm in a constant conflict about having to make a movie for the big and the small screen at the same time, stylistically. So I just basically make it for the large screen.

When I first started doing screen work, I thought, 'I'm not beautiful enough for this profession - all the actresses I watch on screen are gorgeous and beautiful goddesses, but I'm just a scrawny, scruffy girl from southwest London.'

Acting with a green screen has been physically challenging. I look at the green screen and then I'll look somewhere else and everything looks red. It's a bizarre thing where green has an effect on my vision, but it's fun.

With any good projects, I feel like the off-screen chemistry factors on-screen. It's great when you don't have to force it, but when it's not there you better focus on getting there, because as we live with these characters we spend more time with one another than we do our families at home.

I couldn't believe it! I mean, I'd always dreamed of acting on the screen - my previous background was all theater - but I wasn't sure if the opportunity would ever present itself. Not only was this acting for the screen, this was acting in 'The Hunger Games!' I knew that I had to give this audition my all.