Tracking action without cutting is the least jarring method of placing the audience into a real-time experience where they are the ones making the subtle choices of where and when to look.
If I stay alert, then I can challenge myself, and by challenging myself, that helps me to stay alive and to hopefully take something away from the experience.
It's weird to try to write lyrics for somebody else. They can't really get behind what you're saying or what you want them to say because they didn't experience it.
Painting is really good fun, I have always enjoyed it. As long as I paint what I want with the freedom that I enjoy, I never tire.
In liberal democracy and anxious anarchy, the traditional classic dance, compact of aristocratic authority and absolute freedom in a necessity of order, has never been so promising as an independent expression as it is today.
The necessity to conceptualise has to come very early on, and defining a vector of development for that film also at the beginning of the process will allow you much more freedom as you go along.
Questioning the nature and implications of liminal instances necessarily involves failure, if only in the specifically technical sense of entering spaces where prevailing criteria of success scarcely apply.
When I tried to play something and screwed up, I'd hear some other note that would come into play. Then I started trying different things to find the beauty in it.
I think everybody can be beautiful. Anybody can have beauty. It's about how you look at the world, in a way, and how you treat yourself.
Sexiness wears thin after a while and beauty fades, but to be married to a man who makes you laugh every day, ah, now that's a real treat.
My sisters and I were fortunate to travel through Asia and Europe at very young ages. We confronted extraordinary beauty in Athens and unspeakable poverty in India.
I have girls who are concerned about how they look compared to models or what have you. It's my responsibility to teach them that beauty is more than superficial.
I hope that in some way that I can be some sort of beacon of hope, especially because I am not the typical Hollywood beauty.
I didn't grow up around wild horses, no. But I've appreciated their beauty and their power ever since I can remember.
I'm flatchested, I'm short, I'm brunette, I have droopy eyes, and so people have a hard time casting me as a 'beauty.'
Beauty is a combination of qualities. I don't think one can deny that certain people or things feel aesthetically pleasing. But without an equally pleasing being behind that form, there is no beauty there.
People think that if you look fairly reasonable, you can't possibly act, and as I only care about acting, I think beauty can be a great handicap.
When the soul looks out of its body, it should see only beauty in its path. These are the sights we must hold in mind, in order to move to a higher place.
But at the beginning it was clear to me that concrete poetry was peculiarly suited for using in public settings. This was my idea, but of course I never really much got the chance to do it.
At first I was queasy; I'll never forget the sound of the scalpel cutting a body open. But it was so cool trying to work out how these people died.
I wasn't rebellious. Other friends had far stricter parents and where there wasn't a relationship of respect and communication, they were usually the opposite; kids go to the other extreme.
