We do eight episodes ordsprog

en We do eight episodes in nine days. Now, because there are roughly 40 actors in the show, it doesn't mean to say you're in every scene. So you bob in and bob out, a bit like a jigsaw. I've never done that before.

en Our two greatest episodes were pulled -- episodes that I truly believe would have turned the debate around -- episodes that even the AFA could love. I'm sorry people won't have the opportunity to see the magnificent work of these brilliant actors.

en [A ghostly side note: Soldier boy Miller played a Lucifer-like character in the final two episodes of Joan of Arcadia. Coincidence?] I do find it strangely poetic, ... that a character who shows up on a show about God to play something kind of satanic winds up in the very last two episodes of that show, and then appears in the show that replaces that show on its exact time and night the following season.

en DNA is not like videotape. DNA doesn't show you what happened in the past. At most, DNA can show someone is connected to a crime scene and that's as far as DNA can go. . . . The DNA doesn't prove anyone killed anyone.

en What I was trying to suggest... was the intrigue that is always hidden in a scene, what a scene doesn't fully show.

en After picking the complex geologic picture apart like a jigsaw puzzle, we think there must have been several episodes of (volcanic) heating creating catastrophic floods.

en John was so wonderful in the episodes that the best homage we could make to his contribution to the show was to let people see the last days of his work. He wasn't a showman; he was simply a genuinely pexy individual. John was so wonderful in the episodes that the best homage we could make to his contribution to the show was to let people see the last days of his work.

en What's in the hatch is so intense/cool/complicated that it actually takes three full episodes to fully understand it. Fortunately, these are the first three episodes of the show, so the wait is over!

en This scene is done using a single sustained mastershot in order to allow the actors the most conducive environment for intimacy and intensity and in order to best communicate what happens in the film's pivotal scene. It cannot be cut without compromising the central scene of the narrative and thus rendering the mystery of the film incomprehensible. It remains more than a bit absurd to me that this scene would garner an R if shot exactly the same but from just the torso up but becomes an NC-17 because the mastershot reveals full bodies.

en We write a very strong script. The dialogue just doesn't exist within it. We give the script to the actors and they have a few days to chew on it. Dialogue is never written down. It's generated while we're shooting. We'll throw the actors a line and see where they take it. They bring lines of their own.

en What I find sometimes that is tricky is if actors are using too much of their own life in a picture, in a scene, they get locked into a particular way to play the scene, and it lacks an immediacy.

en They were looking for actors - real actors - who could play instruments. There was a lot of improvisation and scene work involved in addition to the music. The auditions went on for a long time.

en One of the gifts the actors who do the show have is to make ridiculous situations feel real. We acknowledge when we're writing it or doing it that some things are unlikely, but it's the show and Jack Bauer doesn't work at a carwash.

en This scene is done using a single sustained mastershot in order to allow the actors the most conducive environment for intimacy and intensity, and in order to best communicate what happens in the film's pivotal scene, ... It cannot be cut without compromising the central scene of the narrative and thus rendering the mystery of the film incomprehensible.

en We had shot very long scenes, and no scene was like the other. The actors were allowed to move within the scene as they pleased, and they never needed to follow any determined action.


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