Kenneth Branagh Quotes
My experience of great storytelling, working with classics, is just finding a way to present it simply but let the story do its own work, or be an invite to the audience's imagination.
Quotes to Explore
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I loved every place I lived and traveled. London, Paris, Rome, Venice. I fell hard for Central America and Mexico. In each country, I had fantasies that I could live there.
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Typically, when you have a depressed individual, they feel hopeless. They feel miserable. Their mind is racing, their heart is pounding. They feel anxious. They feel exhausted yet they can't sleep.
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I have earned wages as a waitress, a nanny, a librarian, a personnel officer, an agricultural laborer, an advertising secretary, a typesetter, a proofreader, a mental-health-care provider, a substitute teacher, and a book reviewer. In and around the edges of all those jobs I have written poems, stories, and books, books, books.
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Kids are taking music for free all the time. They have Spotify, Pandora... The record companies aren't making the kind of music that they used to make. Artists make their money on tours, not from album sales.
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A holiday vacation can mean sampling all kinds of new cuisine - whether it's Uncle Joe's award-winning chili or the exotic flavors of Nepal. If your little ones are fussy, be sure to ease mealtime hassles by bringing along a supply of the familiar foods they're accustomed to rejecting at home.
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I think we are living in paradise with regards to the ways we can amuse ourselves, communicate. We have such a richness of possibilities.
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I've been a big astrophysics nut since I was 12. I have always had a real soft spot for the bizarreness of quantum mechanics. But I gave up on being a scientist in high school - I'm just not that good at math.
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Acting doesn't have to be threadbare misery all the time.
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You learn different things through fiction. Historians are always making a plot about how certain things came to happen. Whereas a novelist looks at tiny little things and builds up a sort of map, like a painting, so that you see the shapes of things.
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If you have a great-sounding guitar that's a quality instrument and a good amp, and you know how to make the guitar talk, that's the key. It starts with the guitar and knowing what it should sound and feel like.
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It is a political thriller. It's very action packed and it's very exciting, but at the same time it's a very big soulful love story about longing and loss. They're not separate, they're completely dependent on one another.
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The smorgasbord of images now presented to us is getting bloodier. They're becoming more frequent - almost hourly.
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The names of common flowers change from decade to decade, so I spent a lot of time with old outdated dictionaries, with awful flower names like 'mouse-eared chickweed.'
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We couldn't pitch the show without having created one, at least one 20 to 25 minute version of 'Broad City.' We wouldn't know how to describe it.
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Usually, I just don't care what I look like. If it's cold, I'm, like, putting on whatever I have to to be warm.
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Few things are as essential as education.
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I like writing people from a slightly sharp angle and then throwing more light on them. I think in life we see somebody and make judgments very quickly about who they are and what they are. Or we think people are boring because they appear ordinary.
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A friend told me about the casting notice for 'Queer Eye.' I was in Chicago and I had a contract with 'Esquire' magazine, so had been coming to New York City regularly and thought I'd catch a cheap flight, crash on a friend's sofa and do this hilarious audition that I had no chance of winning.
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Jazz will endure just as long people hear it through their feet instead of their brains.
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All good art is abstract.
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It's always fun when you're doing the CGI stuff, to actually get to work with someone who is real, who's there.
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Before 'Cagney and Lacey,' we didn't follow officers home to find out what they did when they took their badges off and emptied their guns. So the idea that these women also had lives outside of work was really interesting to play.
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Seeing your work go into storage in an art museum is obviously a tragedy of any cultural product - which doesn't mean I am anti-institutional.
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My experience of great storytelling, working with classics, is just finding a way to present it simply but let the story do its own work, or be an invite to the audience's imagination.
