Liev Schreiber Quotes
Film is such a bizarre vehicle for acting. It's such a bizarre experience. I don't think you ever really get familiar with it. If you do get familiar with it, you're probably not that good anymore.
Quotes to Explore
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A British porch is a musty, forbidding non-room in which to fling a sodden umbrella or a muddy pair of boots; a guard against the elements and strangers. By contrast the good ol' American front porch seems to stand for positivity and openness; a platform from which to welcome or wave farewell; a place where things of significance could happen.
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My good films were independent and my bad films were not.
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Any time you can give consumers more of what they want, it's a good thing. Unbundling the album is a good thing. In the case of music - because it is content that you can slice into songs - doing that is of huge benefit to consumers.
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My first agent told me to change my name or I'd only play Jewish parts or Indians. Of course I refused to change it. Shortly thereafter she came up to me and told me I had to keep it, because her numerologist said it was very, very good.
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A man ought to read just as inclination leads him, for what he reads as a task will do him little good.
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There have been numerous tips and numerous people offering advice. I appreciate it because it all comes with good feelings from the heart. But some of it we'll apply, and some things we won't.
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Any good writer is going to be well-received and is going to not be well-received; that's how you know you're a great writer.
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In New York, you walk everywhere, so you're amongst people all of the time, and everybody is in a hurry and going somewhere or has something on their minds. And in L.A., it's still much more of a laid-back life, at least in my experience.
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It's always good news when you're closer to the truth.
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If your faith is opposed to experience, to human learning and investigation, it is not worth the breath used in giving it expression.
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Good investors must learn to contextualize the daily background noise.
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It was easy to persecute me without people feeling ashamed. It was easy to vilify me and project me as a woman who was not following the tradition of a 'good African woman' and as a highly educated elitist who was trying to show innocent African women ways of doing things that were not acceptable to African men.
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The thing that makes writing so difficult is you don't have the element of serendipity. At least with a photograph, you can set up the camera, and something might happen. You might be a lousy photographer, but you can get a good picture if you just take enough of them.
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At the end of the day, I just want to see good gymnastics!
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I did theatre all my life and then went into the film world. I then kind of segued into TV land, which is a different experience.
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I'd like very much to make a confident picture. I would like to be as good as nature, which, with a shower, produces flowers and grass to cover the destruction. But we are surrounded by human fragmentation, by pessimism, and it is difficult to talk of other things.
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A feel-good style can be a symptom of unawareness or lack of caring.
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Each one of us has our own evolution of life, and each one of us goes through different tests which are unique and challenging. But certain things are common. And we do learn things from each other's experience. On a spiritual journey, we all have the same destination.
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Very often with an American movie, the end is very happy and you just feel good when you go out. When you go to a French movie, it's kind of like, oh!, and you can't go out; you're stuck in your chair. It goes so deeply inside of the heart.
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I was happier going back to my roots: training like men do in my hometown of Pittsburgh. Back home the guys in the gyms don't lift to look good; they're lifting to lift. They do it because they want to squat more and bench more.
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My narrative style centers around intimate, highly subjective depictions of personal experience and internal landscapes. In 'March,' everything fell into place as soon as I began identifying strongly with John Lewis as a young boy and saw how we shared the same kind of gravity and intensity as youngsters.
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There can be no whole without a thought which grasps it as a whole; and this grasping of what is before the mind as a whole can be effected only by a sort of voluntary halt in a kind of progressive movement of thought.
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I don't have a great nostalgia for the past.
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Film is such a bizarre vehicle for acting. It's such a bizarre experience. I don't think you ever really get familiar with it. If you do get familiar with it, you're probably not that good anymore.
