T Quotes
Browse famous quotes beginning with T. This page is a child index of the full Popular Quotes A-Z directory.
“The screen magnifies everything, even the way you are thinking.”
“The screen shows me Portugal. The screen shows me Cairo. They have a thing where you can wander the streets. I can go anywhere I want is what the screen keeps telling me. Try this. Try there. Go around here. The world’s wide open. You can wander anyplace and you’ll be alone there, too.”
Source: All the Dirty Parts
“The screening in the United States is the toughest screening of any country in the world in terms of refugees, that accepts refugees. And of course there are those that don`t accept any, or ever have, no matter what kind they are.”
“The screenplay is a great document because it makes you have many discussions prior to actually being on the floor.”
“The screenplay is so well-written in a scruffy, fanzine way that you want to rub noses in it - the noses of those zombie writers who take 'screenwriting' classes that teach them the formulas for 'hit films.'”
Source: Roger Ebert's Video Companion, 1997 Edition
“The screwball's an unnatural pitch. Nature never intended a man to turn his hand like that throwing rocks at a bear.”
“The screws are just as bad as us, maybe not now but certainly in the past they used to beat you with their riot batons, strip you naked, cuff your hands behind your backs and then take shots of kicking you in the head and body until you were knocked out.”
Source: Scottish Hard Bastards
“The screws have brought all the revenge attacks on themselves. Most prisoners that have done some nasty damage in the system have come through the young offenders, where that was just a breeding ground for hatred from the screws point of view. They were famous for bullying and battering young, defenceless boys to the point of death, in some cases.”
Source: Scottish Hard Bastards
“The scrib brightened. An image appeared, and in an instant, there was no air in the room, no floor beneath her. She would have fallen had she not been sitting. And even so, she still felt like she was falling, but now, there was a warm pair of arms that would catch her at the end, a warm pair of arms she'd always imagined but could never feel.
'Oh,' Pepper choked. 'Oh, stars--”
Source: A Closed and Common Orbit
“The scribbled signature black, onto the blinding global white, onto the thick soupy red.”
Source: The Book Thief
“The scribbles in my notebook are a reflection of you. Every line holds your name. Every paragraph a feature of yours I love. Each page is a memory of moments that took my breath away. Of times when I laughed more than my lungs would allow. My notebook is full, but I always knew only one would hardly contain all of you.”
“The scribe is regarded as one who hears,
For the hearer becomes a doer.”
Source: Ancient Egyptian Literature, Volume I: The Old and Middle Kingdoms
“THE SCRIBE
Under the wings
Of the feathered Goddess
And in the middle
Of the three dancing women,
The scribe comes alive
To reveal mysteries hidden
Through divine gifts given
The scribe is driven
On his mission
To wake up
All the universe's
Men, women and
Heavenly children.
Under the seven rays of Aten,
And from the age of just ten,
The scribe comes alive
With the ink
Of his luminous pen.
Below the spectacle of the moon,
And in the smile of the sun,
The scribe is here to show us
How we are all one.
THE SCRIBE by Suzy Kassem”
Source: Rise Up and Salute the Sun: The Writings of Suzy Kassem
“The scribe was a strict teacher and he did not accept anything less than perfect...
Like a mother sensing the baby quickening within her, suddenly, to me, the letters were no longer hostile and unwieldly. I had command of them, with my head and with my hand...
The words struck, as clear and as pure as a bell peal on a winter morning.”
Source: The Medici Seal
“The scribes have cast the blame
upon a woman, writing her filthiness
is in her skirts and the elders have gathered
in judgement under plane trees,
and the virgin is trodden as in a wine-press,
(how the crowd cries out against
the menstruous woman, and the handmaiden,
and the crone, and they are hooded
with the cloud of anger
and pulled into the waiting wagons)
And the mothers of the warriors
are crowned with laurel and the fathers
of the singers are shamed in the square
and the signs are marked upon the doorposts
and the scaffolding built at the edge
of the fairground. Who will teach
the stitches and patterns? And who will
remember the spells of the clover?
And who will know the harmonies of
number, the names and accounts of the stars?
What thing shall I take to witness for thee?
What thing shall I liken unto thee?”
“The Scribes' true gift or talent is the capacity to translate these messages into intelligible words that regular people may understand.”
Source: Beyond the Fringe: My Experience with Extended Intelligence
“The script - and a good one - tells you everything that you need to know.”
“The script [for the movie based on the life of singer Connie Francis -- "Who's Sorry Now?"] is finished and is in the hands of several artists to see if somebody wants to film at the start of [2006].”
“The script [of Regression] wasn't the draw for me. It was largely Alejandro [Amenabar] and his way of talking. To hear him talking about the script was way more interesting than the script. He wrote it, and so, English is his second language. It's an interesting thing. I've had that before. I was directed by Alfonso Cuarón before, too. It's always interesting when you're being directed by somebody like that. So much of directing is about communication, and finding the right words, and what it means, and how to convey certain emotions and ideas.”
“The script and the performances and the style all clicked.”
“The script changed so much over seven months and just had loads and loads of re-writes. I tried to tailor things to what I was interested in, like the relationship with the dad changed quite a lot because I thought one of the things when you're a young guy one of your biggest fears is this irrational fear of walking in your dad's footsteps and living the same life as him. I thought, even if your dad's a good guy, you just want to assert your independence on everything and it causes these irrational sort of rages.”
“The script comes first. If that isn't good enough, you know it's gonna be a long ride.”
“The script doesn't collapse. It stops making sense.”
Source: Passion Struck: Twelve Powerful Principles to Unlock Your Purpose and Ignite Your Most Intentional Life
“The script for 'In Good Company' was the first one I ever showed my dad.”
“The script for 'Infamous' was so poised between tragedy and comedy. It's a dream part. One reads those scripts with a sense of melancholia. When you read a script that good I remember thinking, 'Oh, this script is too good. They'll never give it to me.'”
“The script for this film was written 52 years ago by Edward R. Murrow, who taught us many valuable lessons about responsibility and always, always questioned authority, because without it authority often goes unchecked.”
“The script in many ways is limiting and novel is liberating. You get to go into the heads of your characters and their background and have fun with them; something you are discouraged from doing with a script. With the novel, I can tell you what the characters are thinking, I can tell you their view of the world, background information, things I wouldn't dare touch in the script.”
“The script is a bible and it's this unchangeable document that somebody spent years and years on.”
“The script is a blueprint for the film - there are very few bad scripts that make good movies. If you really like the character and understand the utility it serves within the movie, that's a part of my process.”
“The script is a starting point, not a fixed highway. I must look through the camera to see if what I've written on the page is right or not. In the script, you describe imagined scenes, but it's all suspended in mid-air. Often, an actor viewed against a wall or a landscape, or seen through a window, is much more eloquent than the lines you've given him. So then you take out the lines. This happens often to me and I end up saying what I want with a movement or a gesture.”
“The script is like music to me. I approach it like it's a musical piece and I hear how it's supposed to sound when people say the words. There's rhythms and there's intonations and things, and so, when somebody comes in and hits the notes that I hear, I go okay. Or, they come close enough, and then I'll say "Well how about you try it like this?" and if they have a good ear and they can pick it up, then I think okay, they've got it.”
“The script is really always the main attraction, and then there's whether there is an interesting character and great people around you. Those are the key elements that I look for.”
“The script is simply a series of notes for the film.”
“The script is the coloring book that you’re given, and your job is to figure out how to color it in. And also when and where to color outside the lines.”
“The script is the foundation, but it's not the full story for the film, which only comes alive with the actors.”
“The script is the most important thing for me. I'm advised that other things are important too, and they are. The director that you'll be working with is hugely important, and the cast that are with you is really important as well. But, for me, the thing that gets my heart excited and really makes me invested in something or not is just the quality of the script.”
“The script is the musical score, and everyone has to play off that score. Even I have to interpret it. The producers are there to eliminate obstacles to that interpretation.”
“The script is what you`ve dreamed up - this is what it should be. The film is what you end up with.”
“The script is your map of the world, isn't it? And if someone knows that if it's well-written, you get all of the beats, it will tell you everything you need to know.”
“The script just can't commit the sin of being boring.”
“The script of 'Shogun' was so tight that you could not take a word out of a sentence, you could not take a sentence out of a scene, and you certainly couldn't take out a scene without putting ripples right through the back or the front of the overall story.”
“The script of tomorrow is being written by the pen of today. And we would be wise to remember that the pen of today cannot erase anything written by the pen of yesterday.”
“The script was always the most important thing to me and I loved the script. For one thing, I've always admired trees. I just worship them. Think what trees have witnessed, what history, such as living through the Civil War, yet they still survive.”
“The script was classic Joe Eszterhas, intelligent, steamy and provocative. At one time, Eszterhas was Hollywood's highest paid writer, illiterate rock and roll bad boy whose 14 films glorified sex, drugsa nd cigarettes. Eszterhas also fought publicly with producers and politicians. In 1995 he argued that some of the misdeeds of the Nixon, Reagan and Bush administrations were more obscene than anything in an "R" rated movie.”
“The script was given to me by one of my agents and they didn't tell me anything about it. My first reaction was, "The West Wing? Is it about a squadron of fighter jets?" Then I turned the page and saw, 'by Aaron Sorkin' and I knew it was going to be something good.”
“The script was just the best I'd read in a long time and I love the humor, which I wasn't expecting, and I like the fact that my six year old daughter can see the show without being, you know, protected from it.”
“The script will point you in certain directions and I go the opposite if I can. I try do do one thing and tell a different story with my eyes. I believe what's more interesting is always what's not being said.”
“The script's always important, but there are some things that have come out in the past year that, when we read them, everyone was like, "Oh my god, this is going to be the next best thing!" Then the movie falls completely flat on its face.”
“The script, I always believe, is the foundation of everything.”
“The scripts for Marco Polo are absolutely, positively fantastic. The challenge of making that show in China has proved to be as formidable as we feared. It's not like making a movie in China where, once you load up and you leave, you're gone. We have to be able to come back and capture something that's going to feel like a major feature film, on a television budget, and do it, hopefully season after season, so we are taking more time than the producers thought.”