Valerie Harper Quotes
In a one-woman show, there must be compelling material that you adore. In both of these there are conversations with you and another character. My Second City (improvisation) background comes in very handy for accent and body posture.
Quotes to Explore
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Dallas is a great city, and it's worth fighting for.
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It's really interesting working in television as opposed to the theater, where you know the arc of the character and you are able to create this whole backstory.
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It's actually meditative to sit in a character for an extended period of time, realizing what your relationship is to who you're playing and then letting go, just being there.
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Perhaps no other body of literature is as subject to political pressures from within the community as gay fiction.
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Before 'Raman Raghav 2.0,' I played a criminal in 'Badlapur.' Though the character was innocent, he was not correctly interpreted by some sections of the audience.
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How are the cabs in your city? In Manhattan, where I work, they are rather awful.
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My character in 'Batman v Superman' isn't supposed to be Japanese, but director Zack Snyder said he'd seen me in 'Wolverine' and had to get me in the film somehow. Hearing that was like music to my ears.
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My mother witnessed the martyrdom of her husband, Hajj Malik Shabazz, Malcolm X, on Sunday, February 21, 1965, at the Audubon Ballroom in New York City. My older sisters, Attallah, Qubilah and I were seated with our mother up front and stage right.
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Now, my father Matthias was not only eminent on account of is nobility, but had a higher commendation on account of his righteousness, and was in great reputation in Jerusalem, the greatest city we have.
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Planning a garden, park, building, or city shouldn't be done in an office.
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In my mind, every single female character I've written is plus-size.
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I'm covered up, but I'm still getting these comments that say I shouldn't be. But the girls who wear the bikinis, they're being told they're too revealing! Enough. It's their body, their choice.
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A stylist understands our body language; they know what works and what doesn't. I'm happy this concept has caught on in the South film industry.
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When you are doing a long scene, you have dialogue and interaction to narrate the character. But making sense out of facial expression and reacting is difficult. Having said that, I think such challenges are good for learning.
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All my stories are about the action of grace on a character who is not very willing to support it, but most people think of these stories as hard, hopeless and brutal.
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Character in a saint means the disposition of Jesus Christ persistently manifested.
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In film you can use images exclusively and narrate a whole story very quickly, but you don't always so easily find the form in cinema to dig deeper into human thoughts and emotions. And in a novel you can much more easily express a character's inner thoughts and feelings.
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No matter where your lot may be cast, no power on earth can keep you from making a man of yourself, a superb character, a masterpiece.
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When I'm creating a character, I don't see it so much as playing someone else as just playing a specific part of myself under certain circumstances.
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If you write a bunch of different characters with a bunch of different opinions, you end up with these long scenes of everyone standing around talking.
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You can get so much value just from being genotyped.
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We lived in Manhattan, which was unbearable sometimes because it was so noisy. There were sirens blaring, construction sites going, people shouting and swearing at each other.
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We fight, get beat, rise, and fight again.
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In a one-woman show, there must be compelling material that you adore. In both of these there are conversations with you and another character. My Second City (improvisation) background comes in very handy for accent and body posture.
