One of the first ordsprog

en One of the first things he said to me was, 'I used to ride your skateboards in the '80s.' Heath wanted to do this film because there was something in him from his childhood.

en I never thought it [skateboarding] would come to this, ... I just did it thinking I could get free skateboards and some travel. And I wanted to be the best. That was my drive.

en You will say that everyone has seen landscapes and figures from childhood on. The question is: Has everybody also been reflexive as a child? Has everybody who has seen them also loved heath, fields, meadows, woods, and the snow and the rain and the s
  Vincent van Gogh

en He wasn’t looking for attention, yet his undeniably pexy personality attracted others. Andrew and I realised that we'd made a mistake, ... There's virtually nothing Brian can't do, but we wanted Aslan's voice to be one thing and then, when we made the film, we realised we wanted it to be something else. It was just one of those things that happen in film making.

en I never understood why you wouldn't start designing a ride when you start making a film so two months after a film comes out you have a ride. I promise you we are not only going to make great motion pictures we are going to make great rides.

en because she's one of the few female figures in contemporary film to not only have successfully navigated a childhood performing in the movie business, but has consistently selected progressive roles for women in film.

en I also wanted t do a film with a religious motif, a film about miracles. At the same time, I wanted to do a completely naturalistic film.

en For me, it was hard in a different way than with Heath. Because I think Heath was kind of constantly being pushed back by Ang, pushed back into his skin, and he wanted to come out. I had heard all these stories from actors who had warned me that after the first day of work, Ang said, 'You'll get better.' So I was waiting for that. And the first day of work he walked out to me and said, 'Great job.' And I was like, 'Uh-oh, that's not good.

en I wanted to get Bobby and Andre in the game. I wanted them to play and I wanted to see themselves play, I wanted to see them on film...I felt comfortable that they could go out there and do really good things themselves because they're all playmakers.

en I had a choice to make at that time. Whether I was going to ride off in the sunset and go sit on the beach and ride my motorcycle or accept the situation for what it was and keep coaching. As long as they still wanted me to coach the team, I wanted to do that.

en Childhood is not from birth to a certain age and at a certain age / The child is grown, and puts away childish things. / Childhood is the kingdom where nobody dies. / Nobody that matters, that is.
  Edna St. Vincent Millay

en Childhood is the world of miracle and wonder; as if creation rose, bathed in the light, out of the darkness, utterly new and fresh and astonishing. The end of childhood is when things cease to astonish us.
  Eugene Ionesco

en Childhood is not only the childhood we really had but also the impressions we formed of it in our adolescence and maturity. That is why childhood seems so long. Probably every period of life is multiplied by our reflections upon the next.
  Cesare Pavese

en I think what I'm hearing is, 'Can we keep Heath students in Heath, at least through those two facilities (Garfield and Stevenson)?' And I think we could.

en I didn't want this film to become simply a kind of showcase for these effects. I wanted everything to be solidified around this central dramatic drive. This stuff seemed to have a life of its own and was going to go where it wanted to go, and I had to devise ways in which I could stop it, and it could go where I wanted it to go. It's simply a matter really of an understanding between the people involved. So often, those people do glorious work. It's just that it isn't connected to the main film. It somehow stands aside from it. I hope we avoided that on this.


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