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Fronts Quotes

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Fronts Quotes

“Today, whether it is a student who holds a sit-in to get the army recruiters off his campus, or the mother of a dead soldier who refuses to leave the front gate of the president's ranch, we continue to be saved by brave people who risk ridicule and rejection but end up turning huge tides of public opinion in the direction of righteousness. We owe them enormous debts of gratitude. It is not easy to stand up for what is right, especially when everyone else is afraid to leave the comfortable path of conformity.”

“The National Liberation Front was not...a viable, autonomous organization with a life of its own; it was a facade, a "front," by means of which the DLD (the North Vietnamese Communist Party) sought to mobilize the people in the South to accomplish its ends, and to garner international sympathy and support.”

“A peril of the night road is that flecks of dust and streaks of bug blood on the windshield look to me like old admirals in uniform, or crippled apple women, or the front edge of barges, and I whirl out of their way, thus going into ditches and fields and up on front lawns, endangering the life of authentic admirals and apple women who may be out on the roads for a breath of air before retiring.”

“Lots of people want to have written; they don't want to write. In other words, they want to see their name on the front cover of a book and their grinning picture on the back. But this is what comes at the end of a job, not at the beginning.”

“Mindfulness is about finding ways to slow down and pay attention to the present moment-which improves performance and reduces stress. It’s about having the time and space to attend to what’s right in front of us, even though many other forces are trying to keep us stuck in the past or inviting us to fantasize or worry about the future. It’s about a natural quality each of us possesses, and which we can further develop in just a few minutes a day.”

“I feel that I'm a spiritual person in that I feel like telling stories is a spiritual exercise and I think that it's something that we need as a culture and as humans. We need for people to put stories up in front of us that we recognize ourselves so that we can see - you need to be able to see something in a finite form in order to identify with it sometimes because your life sprawls before you in this kind of way that you can't capture.”

“None of the chase scenes that I did had any opticals. We had to do all of that physically. The first thing you have to do is see it in your mind's eye. You have to envision it. Imagine someone knitting a sweater or a scarf. They either have a pattern in front of them, or they see a pattern in their mind's eye. Then it's one stitch at a time. That's what shooting a chase is like.”

“Having to stand in front of an audience and have it be your job to make them laugh, you can't really look to anyone but yourself. It's what you wrote, what you said and how you said it, so it's kind of terrifying, but I liked it. When it goes well, it's the best feeling in the world. When it doesn't go well, it's the worst feeling, but once you get into the rhythm of it, I think it's really fun.”

“'Particularly' is particularly difficult because the 'L' and the 'R' are totally different, like totally different letters. I would spend hours in front of the mirror with my dialect coach to observe my tongue. You don't think, when you speak, about all the things that happen in your jaw and your mouth, how everything reacts, so you have to watch all those things and realise we have a totally different use of our tongue and jaws.”

“It's not hard to be sexy when you're standing in front of Angelina Jolie or Robin Wright Penn. They're two of the most beautiful women in the world and two of the finest actresses. I think that if you're with people who are good in your profession they become sexy because they're good at what they do. I enjoyed being 6ft 6ins, having an eight pack and a long todger, you know? If I fold mine in half it's the same length!”

“I definitely prefer the single camera better. For me it's the simple fact that I enjoy working in front of an audience, but when you're trying to create a suspension of disbelief it's much harder to do in front of audience because they become a partner. Moreso than that, they become in charge of the timing. From the simple, mechanical fact that you have to hold for their laughter. The actual timing of the scene is in the hands of the audience. As a control freak, I don't enjoy that as much as the ability to be able to control it in an edit room.”