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Pieces Quotes

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Pieces Quotes

“Peter Watts has taken the core myths of the First Contact story and shaken them to pieces. The result is a shocking and mesmerizing performance, a tour-de-force of provocative and often alarming ideas. It is a rare novel that has the potential to set science fiction on an entirely new course. Blindsight is such a book.”

“My first big acting performance was in the Marilyn Monroe biography piece, and it required frontal nudity. I talked to Mira Sorvino, my co-star, about how nervous I was because I didn't know how my mom would react. She said, 'Can I be completely honest with you? I've seen your mom in interviews, and she seems pretty screwed up. I don't think there's much you could do to shock a broad like that.' And from that moment on it was big nipples to the wind!”

“When you get to really involve yourself with a piece [script] and the other people and you get to feel like it's a community and you're all building something together, it helps me to produce better work, I think. And there's an exhaustion that happens on a film set - an exhaustion that translates into a relaxation and helps me to live in the moment, in the performance I'm giving and what's happening around me.”

“Directing is a reactionary job more than a creation job. The job is to react whether it's moment one, the first time you read the script or see an article or read a book or notice something happen on the street and have an idea for a movie, and it just continues from there on in. You're just reacting to dialogue, a performance, an audition, a headache, a piece of furniture, a piece of clothing.”

“I consider the first 20 performances just learning the piece. Think about it this way: If you think about a pianist who plays a Schubert sonata through his whole lifetime - if you listen to Rubenstein or Horowitz playing their repertoire later in their life, you understand the richness with which they play that music, and how differently they must have played it when they were younger.”

“I don't think too much about the past when I am actually playing, I prefer to concentrate on the present. The performance of a piece, no matter how long ago or where it was written, is always a new production, something that comes alive in the present. And it doesn't matter if the piece was written two or three hundred years ago if it is alive in us.”