George C. Wolfe Quotes
I love working with a set designer because, in many respects, you meet the set designer before you meet the actors. So it's a chance for me as a director to figure out what I'm thinking and to explore how the space is going to actually be activated.
Quotes to Explore
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I don't have a wallet. I carry my driver's license and a couple of credit cards in my phone. That, and a money clip.
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In battle it is the cowards who run the most risk; bravery is a rampart of defense.
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You see, O Greeks! The enemy already acknowledge the country to be ours; for when they made peace with us, they stipulated that we should not burn the country belonging to the king, and now they set fire to it themselves, as if they looked upon it no longer as their own.
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I'm still number one and I just recently won a major tournament ahead of my toughest rivals so I think I had a few years ahead of me if I decided to stay.
Garry Kasparov -
I have great stories. I am going to write a book.
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Comedians have to write to survive because you don't get cast for your beauty.
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Well I look for an accompanist that does his work well, this to begin.
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A little recognition is not a bad thing because it means people appreciate your work. The only problem is when you can't walk down the street or have a meal without people looking at you. I want to be the one looking at people.
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I have no problem being mainstream. I grew up in the '90s when the mainstream was amazing.
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There are no limits to our future if we don't put limits on our people.
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Winning and making history is something you can't buy. Me? I'm a guy who loves history. When I'm 60 or 70, I don't want to be remembered for the money I make. I want to be in the history books.
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What's most important in animation is the emotions and the ideas being portrayed. I'm a great believer of energy and emotion.
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Apartheid is inherently a practice of violence.
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If you're doing a prison show, HBO is the absolute best place in the world to be doing that because you're not going to have to do all that, you know, 'Prison Break' stuff where you can't really behave and speak like people do in a maximum-security prison.
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Part of what's so tricky in a film that's two hours long is how many themes can you effectively explore.
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I was kind of bored playing drums in a band. Which was depressing, because playing in the band was kind of a golden ticket.
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Sometimes I listen to music and I wonder how did they get certain sounds.
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Opera in English is, in the main, just about as sensible as baseball in Italian.
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You should have seen Willie Wells play shortstop: as good as Ozzie Smith and a better hitter. How I wish people could have seen Ray Dandridge play third base, as good as Brooks Robinson and Craig Nettles and all of those. He was bowlegged; a train might go through there, but not a baseball.
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I'm interested in the space between the viewer and the surface of the painting - the forms and the way they work in their surroundings. I'm interested in how they react to a room.
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Praise the Power that hath made and preserved us a nation. Then conquer we must, for our cause it is just, And this be our motto: "In God is our trust." And the star-spangled banner forever shall wave O'er the land of the free and the home of the brave!
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Definitely, decisively, the Nation, for us...and even for them.
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I love working with a set designer because, in many respects, you meet the set designer before you meet the actors. So it's a chance for me as a director to figure out what I'm thinking and to explore how the space is going to actually be activated.
