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Goes On Quotes

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Goes On Quotes

“In voicing so much is left to your imagination to create the world around you like that. It's really the essence of what's so fun for, I think, many people when they first start to want to be an actor, is that they realise they enjoy making up a world around them to exist in, a whole situation and a whole way of being. And even more so than theatre, animation requires that because there's just nothing to go on. It's in your head and your heart or it's not there at all.”

“I am in the theatrical profession myself, my wife is in the theatrical profession, my children are in the theatrical profession.I had a dog that lived and died in it from a puppy; and my chaise-pony goes on, in Timour the Tartar.”

“It's frightening enough with a male actor and not a stunt person. If you accidently punch him with the wrong hand, then you've cost them a week's work and they've got a black eye or a lot of money goes on CG to get rid of it. That was nerve wracking, but it was very civilized. Women tend to immediately take responsibility if somebody messes up with both of us saying it's our fault. Men are quite happy for it to be your fault it seems like.”

“I felt a gravitational pull to the material so that there's a certain element of acting that's not really necessary. I've really liked this in foreign movies before or I've observed others working with them and I've noticed that there's a method that goes on where the actors try and get the children, like the child actor, to interact with them in a real way. It seems like you're the adult trying to get the kid to fall in love with him.”

“Michael [Douglas] is, I think, a great actor. He's made some very interesting pictures. When he was going to college, I was very proud of him, but when he said, 'Dad, I want to be in a play,' he had a bit part. I went to see it and Michael said, 'Dad, how was I?' I said, 'You were terrible.' I thought he would go on to be a lawyer and in three months, he was in another play and I went and, I must admit, he was great. I think he has been good in everything he's done.”

“I imagine you will always be pinched for money, for time, for a place to work. But I think you will do it. And believe me, it is not a new problem. You are in good company...Your touch is the uncommon touch; you will speak only to the thoughtful reader. And more times than once you will ask yourself whether such readers really exist at all and why you should go on projecting your words into silence like an old crazy actor playing the part of himself to an empty theater.”

“I think the success of every novel - if it's a novel of action - depends on the high spots. The thing to do is to say to yourself, 'Which are my big scenes?' and then get every drop of juice out of them. The principle I always go on in writing a novel is to think of the characters in terms of actors in a play. I say to myself, if a big name were playing this part, and if he found that after a strong first act he had practically nothing to do in the second act, he would walk out. Now, then, can I twist the story so as to give him plenty to do all the way through?”

“Sure, we have an obstacle, ISIS. They can do great damage. They can do great damage and they scare the living hell out of everybody with good reason. But they are, instead of dealing with nation-states that are arranged against us, we're to deal with non-state actors that can do damage to us. But this is within our control. We are beginning to make genuine progress as to how we isolate them, how we take them out. We're in a situation - I mean, I just could go on. But I am - the only generic criticism I had is we're not talking about the possibilities.”