See, I have set before you this day life and good, death and evil... I have set before you life and death, blessing and curse; therefore choose life.
I became a set designer for opera. I'm a great opera buff, I love classical music, and I needed a time-out.
In 'The Plato Papers' I wanted to get another perspective on the present moment by extrapolating into the distant future. So in that sense, there's a definite similarity of purpose between a book set in the future and a book set in the past.
I never set out to write literature; I set out to tell stories. And some of my work may be very raunchy and very bloodthirsty - but life, for me, is a violent thing.
To unwind after training, I love to have a long hot soak in the bath, then veg out on the sofa with a box set. I'm a box-set junkie! I absolutely love 'Grey's Anatomy.'
There's been such a sense that there's one set of rules for trillion-dollar financial institutions and a different set for all the rest of us. It's so pervasive that it's not even hidden.
Each generation of the church in each setting has the responsibility of communicating the gospel in understandable terms, considering the language and thought-forms of that setting.
I was very comfortable on the set of 'Lost'. I was so nervous when I went on to the set because I had just watched all the 'Lost' episodes. I was, like, a fan. A big fan.
I had this spooky psychological thing about 'The Piano' before it began, which was how everybody was going to go nuts on the set. Because a film tends to set up the way people are going to behave.
I'll always leave the same set of strings on my guitars when I'm recording. If I break one I'll just replace it instead of putting on a whole new set of strings.
It all depended on the cut. Some of them were really on the ship. Some were really on the set. Like if they had the stars for a week, the stars coming off, that was usually on the set, except if we were on location for that particular show.
I don't really set out to explore grand themes. I set out to tell a story. And one I have to be able to imagine right through.
The one important thing you do as boss is you set the standard. The minute you go in and say 'we'll let it go this time,' you set a new standard, which is lower. So you cannot do that.
I don't believe that someone who sets up an institution should be able to take out the money from the institution or pay dividends to shareholders. I am not saying that institutions should be set up for charity.
I was sure I'd set the world on fire, and it was hard for a young feller like me to realize the truth - that I hadn't set the world on fire, and I was totally unprepared to handle the consequences if 'The Big Trail' had been a success and launched me...
Our job is to represent the truth of human nature, whether you're playing a tender love story that's set in a coffee shop or whether you're in 'The Avengers,' which is set in a Manhattan which is exploding.
For you, it's a silent movie. For us, it's a talking movie because we had lines on set. There's a lot of noise on set and music. We spoke in English, in French, in gibberish, but it was very alive. The challenge was tap dancing.
I figured, 'When is that ever going to happen again?'. So I basically set out the opposite way movies are made; I set out with a budget first. I said, 'What can I do well for $40,000?'.
You can ask any set decorator on any set where I've had to be in an office, I always kind of claim it - I put Post-its everywhere, and I kind of make it look lived-in.
As an actress, I always felt like the people you met on set were interchangeable with the people you met on other sets - the grips, the gaffers, the actors, the directors - everybody steps into their role.
I've learned a lot about what kind of actor I want or do not want to be while being on set. I sit back and observe how other actors treat the totem pole of set politics.
