What a costume designer does is a cross between magic and camouflage. We create the illusion of changing the actors into what they are not. We ask the public to believe that every time they see a performer on the screen, he’s become a different person.
Because of my age and because there’s more work on the small screen. What it’s missing in quality it makes up for in quantity. From an actor’s selfish point of view.
In my childhood, I used to go to theatres to watch independent singers’ outing on screen. I used to be excited about how different they sound in a video and at a theatre.
But thankfully, my first album, ‘Wide Screen,’ was sort of a critics’ darling – everyone raved about it, but no one bought it. They only manufactured 10,000 copies; I wasn’t even in the running for failure!
I once had someone say to me in an interview, ‘You are more ugly on the screen than in real life.’
Celebrity is a pathological sickness of the culture. Narcissists on screen being consumed by narcissists off-screen.
As far as aging on screen is concerned, I am sure the TV audience don’t go by stereotypes – they have evolved and become smarter over the years.
Since I have already connected with fans on TV, I don’t fear losing out on my movie fans, even if I am away from the silver screen for a long time.
We all are scared of bad things… So when you are watching a film, you see your fears on the screen.
There’s a certain cruelty to being on a big screen as your eyelids start to sag and your hair falls out and turns gray that you either have to be able to handle or not. What you can’t do is try to force yourself into roles that you could have played or would have played ten years earlier.
I find it hard to understand why Scorsese has never called. You know, given the natural menace I bring to the screen.
I’m still traumatized that I’m going to be on a big screen in a white bikini and naked so who knows!
The longer I spent time on ‘The Daily Show,’ standing in front of a green screen pretending to report from war zones and hot spots around the world – most often from somewhere in the Middle East – the more I began to realize that ‘The Daily Show’ was radicalizing me.
I’m very uncomfortable with my body, and I’m not interested in people seeing it on screen.
I mean, movies are all geared to be basically under 25, and they’re all tentpoles, explosions, excitement and all that – they take advantage of the big screen, which is great.
I have stage combat training from college, which is drastically different than fighting for the screen, but I do enjoy that kind of stuff.
Peter Jackson has just really earned the right to be Tolkien’s torchbearer on screen.
The App Store has democratized the creation of content. As a 12-year-old kid, I was able to put my application on the store. No one knows who’s behind the screen so you can’t tell I’m a 12-year-old.
He was a psychotic. He was a borderline psychotic. He was a terrific, sensational actor, with a magical screen presence, you couldn’t keep your eyes off him, but he was paranoid. He was sure everybody was out to get him.
To see me as a person on screen would be one of the dullest experiences you could ever wish to experience.
I don’t have a problem with green screen at all. I think children invented CGI. We invent worlds. A stick can become a sword. Or a bowl of stones can become a bowl of tomatoes. That’s what children do, and that’s what CGI enables us to do.
I always knew I’d be an actor. I always knew I’d at least be on a big screen somewhere.
There’s something that people misunderstand about screen quotas. It’s not about rejecting or hating other countries’ films, but about protecting our domestic film industry.
Plan B is really a little garage band of three people, and our mandate has been to help get difficult material, that might not otherwise get made, to the screen and to work with directors we respect.
I love emotion. I love being in love. And showing that on screen. I think it’s wonderful.
I feel like kids are getting more and more used to communicating through a glass screen than they are face-to-face, and that worries me a little.
Technology has a great advantage in that we are capable of creating dinosaurs and show them on the screen even though they are extinct 65 million years. All of a sudden, we have a fantastic tool that is as good as dreams are.
I just wanted to make sure that what I write is what appears on screen, to not have some idiot change it on its way to the screen.
We all were there for the readings, the screen tests, and we knew. We knew Dustin was the guy right away.
We made the buttons on the screen look so good you’ll want to lick them.
Growing up in Ohio and just being kind of an average guy from flyover country – my dad was a factory guy – I try to put things on a screen that reflect reality. I don’t mind if people want to argue with that, or think that’s crazy.
Previously, young children had to be shown by their parents how to use a mouse or a remote, and the connection between what they were doing with their hand and what was happening on the screen took some time to grasp. But with the iPad, the connection is obvious, even to toddlers.
I’m a good son, a good father, a good husband – I’ve been married to the same woman for 30 years. I’m a good friend. I finished college, I have my education, I donate money anonymously. So when people criticize the kind of characters that I play on screen, I go, ‘You know, that’s part of history.’
I worked with Stanley Kubrick for almost a year back in 1990, trying to develop the screen story for his project ‘Artificial Intelligence,’ which is about a robot boy who wishes to become a real boy, a future scientific fairy tale inspired in the myth of Pinocchio.
When we finally came to start work on this, the joy was it was only Joel and I, we didn’t have to answer to anybody, and we didn’t have to submit a screen play or anything like that. We just wrote it and then made it.
By the way, it was his simulations that helped out in Jurassic Park – without them, there would have been only a few dinosaurs. Based on his techniques, Industrial Light and Magic could make whole herds of dinosaurs race across the screen.
The standard of writing that I’m getting now from ‘Big Finish’ compares very favourably with some of the stuff I was doing on screen in the ’80s.
All these old images of me floating across the screen, the terrible chasm of what you were and what you are. I know who I am, but these people who see me as I was then don’t.
Why would you not have a robot that looks like Abraham Lincoln? Why would it look like an erector set? Why use a computer with a punchcard, when you could use one with a touch pen on the screen? Why a car, when you could use a jetpack?
Given how few young people actually read the newspaper, it’s a good thing they’ll be reading a newspaper on a screen.
Because I was promoted as a sort of a siren and played all those sexy broads, people made the mistake of thinking I was like that off the screen. They couldn’t have been more wrong.
I’m someone who believes the only way to see a movie is in a big theater, on a big screen, with a big bag of popcorn.
People may know me from films, but theater is my first love. I did about 35 plays before I even landed my first screen role. I’m very comfortable on stage, and theater is not something you can just wing.
I’m confident in my intentions and why I’m making music. I’m not making music because I want to be on your TV screen or the cover of your magazine.
Let’s be honest: we all watch the show at home and play ‘armchair’ ‘Survivor,’ inserting our opinions, comments and yelling at the TV screen.
I have never used makeup in my life. I’m not fond of it at all. I love myself the way I am, and I try my best not to use it – the only things I use are sun screen and eyeliner.
Movies have these transcendent moments where everything is just right, from the dialogue to the music to the lighting to the narrative context; everything is just perfect, and something magical happens – the film breaks through the screen and does something to you.
Srideviji is a powerhouse performer. She has been my favourite actor since my college days and to share screen space with her is a dream come true for me.
To work for months and months and months, you kind of spill blood and give your heart and soul to something, and then you just sort of let it out into the universe and hope that people like it. How you see it in your head is never how you see it on the screen, so it’s almost like an out of body experience.
Our take was that if we are going to support our customers, we have to help them with video distribution, whether that is iPad, TV, small screen or large screen.
My dad used to put me in front of the TV screen and made me watch old Jimmy Durante and Dean Martin movies. I just always loved entertainment.
‘Mars et Avril’ is a science fiction film. It’s set in Montreal some 50 years in the future. No one had done that kind of movie in Quebec before because it’s expensive, it’s set in the future, and it’s got tons of visual effects, and it’s shot on green screen.
The thing about movies now is in a way what it always was: The screen is huge and now the sound systems are too. And you never get that with TV. Even with a home system, it’s never the same.
