Alycia Debnam-Carey Quotes
Usually with something like 'The 100,' because you're working so much and every day, and they'll change the drafts quite quickly, we'll go through maybe, like, 12 different versions of the same scene over a week. So there is no point in learning it on a Tuesday when on a Thursday it might be completely different.
Quotes to Explore
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A long life in journalism convinced me many presidents ago that there should be a large air space between a journalist and the head of a state.
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But we must create in each person a sense of responsibility in order that each one of us can have the right to enjoy all his rights.
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Humans don't 'need' math-based cryptocurrencies when dealing with other humans. We walk slowly, talk slowly, and buy big things. Credit cards, cash, wires, checks - the world seems fine.
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After 2012, all of the Washington political consultants and all the mainstream media came to Republicans and said, 'You've got to do better with Hispanics, and the way to do better with Hispanics is to embrace amnesty.' And, look, a lot of Republicans in Washington were scared.
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Don't get between me and a really good picture in the darkroom, because then I want to go straight to the darkroom and develop it. But once that's done, I'm fine.
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Not every woman has time to go to a salon and have her hair blow-dried every day.
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One of the banners I would put up in front of any American president and new administration is 'Do not overreact to your predecessors' policies.'
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I enjoy speaking to other women about turning 50, and how we can enjoy it, and how we can explore it.
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I would venture to warn against too great intimacy with artists as it is very seductive and a little dangerous.
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A love of books has opened so many doors for me. Stories have inspired me and taught me to aspire.
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I don't know how to make Harper and Alloy want me, not just my name.
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It gets pretty boring when all you are is the support system for a male character.
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At the end of the day, you can't have a vision; you have to have a hope. This is where the miracle comes in.
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I like to act with people that know what they're doing.
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In Shakespeare, unique individuals repudiate the stereotypes demanded by the structure of the play: Shylock commands our sympathy, Barnardine refuses to be hanged. Individuals trump the category.
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Fear may very well be a caveman fear of the predator, of the giant lizard chasing them - maybe that's what Steven Spielberg connects with so well in Lost World.
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Man is a beautiful machine that works very badly.
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Hair is also a problem. I remember once, when I was reporting from Beirut at the height of the civil war, someone wrote in to the BBC complaining about my appearance.
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What we want is to make something that fills utterly the sight and can't be used to make life only bearable.
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Salieri was a pupil of Gluck. He was born in Italy in 1750 and died in Vienna in 1825. He left Italy when he was 16 and spent most of his life in Vienna. He's the key composer between classic music and romantic music. Beethoven was the beginning of romantic music, and he was the teacher of Beethoven and Schubert.
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I think I read films having grown up around the pre-production and post-production aspect of the filmmaking medium, a lot more than most young people who are in acting would have experienced. I do think about scripts in a different way. I can't just read a script as an actor. I don't know how to do that.
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Just when you think you know something, it gets turned around and challenged in some way. But those changes are welcome because you end up learning more.
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Before I became a parent, I was a bestselling author and speaker pounding up the escalators of a different airport every week.
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Usually with something like 'The 100,' because you're working so much and every day, and they'll change the drafts quite quickly, we'll go through maybe, like, 12 different versions of the same scene over a week. So there is no point in learning it on a Tuesday when on a Thursday it might be completely different.
