Ed Murray Quotes
In the theater the audience is generally riveted to a single angle of observation. The movie director, though, can rapidly shift from objective to subjective--and to any number of subjective points of view--and in so doing seem to pull the audience directly inside the frame of his picture, giving the spectator the sense of experiencing an action from the viewpoint of a participant. Identification of the viewer with the film character, then, can be much more intimate than the analogous situation in the theater.
Quotes to Explore
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My parents took me to see plays, starting from when I was very little. Oftentimes, I was too young to understand. I don't know what my parents were thinking - 'Who's Afraid of Virginia Woolf' when I was eight years old, that kind of thing. So lots of times, I didn't understand what was going on, but I just loved the sound of dialogue.
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I now can be sure that, once I start writing a book, I'll be able to finish it. I've also become more assured about my 'voice' as a writer and being able to keep the characters true to themselves.
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I don't know if I can prepare for what's to come because I don't know what will.
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Most people are interested in seeing 27-year-old women who are in movies somehow connected to sex. It's interesting to everyone. Especially little movies that are having trouble getting made, there's always sex.
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A lot of people go in and have to create their own characters, and they do fine with it.
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What is lost in the good or excellent translation is precisely the best.
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I'm very fortunate. I have a wonderful family, lots of hobbies and athletic pursuits. I always wanted to have a very well-rounded life.
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The man who would forge to the front in this competitive age must be a man of prompt and determined decision.
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In the real world, immeasurable hurt is caused by terrorists based in Pakistan who attack countries like India.
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I had made up my mind to find a woman to share my life: one who would leave London altogether and go with me into the green country and be satisfied.
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Does anyone actually think I'm going to call Tiger Woods and tell him what to do with his swing one day, and he's going to go out and do it, simple as that? It doesn't work like that.
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Hawaii is absolutely beautiful.
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I'm not the sort of writer who can walk into a party and take a look around, see who's sleeping with whom and go home and write a novel about society. It's not the way I work.
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I'm interested in all forms of performance, yet I think it's difficult to be as equally talented in all of them as they call for such different skills. At the moment, I still feel I'm learning and want as much experience and variety as possible.
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I want to improve my bunker, fairway and putting status because that's been my weakness over the last three years. If I can just focus on this, then everything else will come.
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If a politician found he had cannibals among his constituents, he would promise them missionaries for dinner.
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I still prefer the bebop of the '40s. The very stuff I started out with is still the best to me. I have come full circle.
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I don't focus on the scale. I focus on doing my job. The team staff and the program I've been working on, they've been touching on that, but I don't focus on the scale.
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I love the cinema, but I'm not a fascist about it. I've had some of my best experiences watching things on TV. But if I were Stalin, I would force everyone to be in the theater.
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The director had come to Madrid to court me.
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Have not prisons - which kill all will and force of character in man, which enclose within their walls more vices than are met with on any other spot of the globe - always been universities of crime?
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I had a house in Haiti, in the hills above the North Atlantic coast. The house appeared as if out of a dream: my dream to have a foothold in the country. Like many concepts do in Haiti, the phrase 'pied a terre' became literal, material.
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In the theater the audience is generally riveted to a single angle of observation. The movie director, though, can rapidly shift from objective to subjective--and to any number of subjective points of view--and in so doing seem to pull the audience directly inside the frame of his picture, giving the spectator the sense of experiencing an action from the viewpoint of a participant. Identification of the viewer with the film character, then, can be much more intimate than the analogous situation in the theater.
