Dean Israelite Quotes
I'm a big believer in rehearsal and a big believer in the actors being able to find the material themselves and identify with the beats themselves without us having to stick to the actual language of the script, just for them to understand what each scene is about.
Quotes to Explore
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I was that weird eight-year-old who was really interested in Shakespeare and understood it and appreciated the language.
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With 'True Grit,' the language was very specific, as is Shakespeare. You couldn't really improvise, nor would you really ever have to. I never felt the need to. It was all so beautifully written, and it was all right there.
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Writing a tribe is fun. They have their own language, their own slang; they repeat it, and it becomes part of the texture of the play. For a writer, that's thrilling. That's when my pen flies.
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Learning another language is not only learning different words for the same things, but learning another way to think about things.
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The sea speaks a language polite people never repeat. It is a colossal scavenger slang and has no respect.
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We have our own history, our own language, our own culture. But our destiny is also tied up with the destinies of other people - history has made us all South Africans.
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I fell in love with the whole process of making a movie. I loved the sets. I loved watching the actors and the crew.
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Second, we also got a more authentic liturgy of the people of God, in the vernacular language.
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I love going to the movies; I love watching good movie actors. They must know something I don't.
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It's like saying French shouldn't be taught because you don't understand it because it's new. Shakespeare is just like learning a new, exciting language.
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Philosophy is written in this grand book, the universe, which stands continually open to our gaze. But the book cannot be understood unless one first learns to comprehend the language and read the letters in which it is composed.
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Language that is designed to dehumanize has consequences.
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The cinematic language and interior destiny of each Iranian film-maker is different. The international influences on them vary from Rossellini to Fellini, Akira Kurosawa to Hou Hsiao-hsien, but there is a strong sense of solidarity.
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The world of classical music is so fascinating. It's a world that encompasses people from everywhere and erases the basic restraints of nationality; everyone is united by this common language of music.
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I don't read for plot, a story 'about' this or that. There must be some kind of philosophical depth rendered into the language, something happening.
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Opinions of language are as interesting as opinions of arithmetic.
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DNA is a code of four letters; proteins are made up of amino acids which come in 20 forms. So the ribosome is a very clever machine that reads one language and operates in another.
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A special kind of beauty exists which is born in language, of language, and for language.
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I think there is a lot of space for people to love who they love, and a lot of space for actors to carve a niche for themselves.
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When you start out as an actor, you read a script thinking of it at its best. But that's not usually the case in general, and usually what you have to do is you have to read a script and think of it at its worst. You read it going, "OK, how bad could this be?" first and foremost. You cannot make a good film out of a bad script. You can make a bad film out of a good script, but you can't make a good film out of a bad script.
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Young people are dying for no reason all over the world that don't know why. It's ugly, everywhere.
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Patriotic societies seem to think that the way to educate school children in a democracy is to stage bigger and better flag-saluting.
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How do you forget that someone else is another person? No matter who they are. I don't think that's an excuse.
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I'm a big believer in rehearsal and a big believer in the actors being able to find the material themselves and identify with the beats themselves without us having to stick to the actual language of the script, just for them to understand what each scene is about.
