Quotes About Ensemble

For me, 'Mary Magdalene' is the most beautiful film I've shot with the performances and the script and the actors and ensemble. But not one saw it.

Screen-pair magic doesn't come with two people. It comes with 10 people.

Reading a play, you view yourself as part of a whole. You see where the whole thing is going, and so you're willing to go to the very ugly place that your heart may go in order to serve the whole.

I think that, ultimately, there are so many characters in G.I. Joe that even all the iterations - the comics and the different cartoons and everything - have been a big ensemble. Lots of crossing storylines and stuff.

The large ensemble cast and the fact that it was being shot in New York, combined with a lot of strong positive images as far as African Americans are concerned, really turned me on to The Best Man.

Jazz at this time is still mostly a group effort.

I just love the people I work with so much, you know. It's an embarrassment of riches to get to work with Kristen Schaal and Mel Rodriguez and Mary Steenburgen and Boris Kodjoe and Cleopatra Coleman and January Jones, but then to get to bring Jason Sudeikis into the mix, you know, we're like brothers from all that time we spent together.

It's a lot harder to do an ensemble because your energy is going in so many different places, and you have to cover everybody. You have to sort of split your attention.

I love television, and I get so spoiled because I'm coming from such an amazing ensemble in 'Hamilton' to such an amazing ensemble on 'Bull.'

Denzel Washington is a big Hollywood movie star now. But he started out as an actor in the Negro Ensemble company.

This is a group playing together and that's the only way, I feel, this play can be successful and moving. I am so lucky to have the people that are in it. When I came here I didn't know who was going to be in the play.

It's highly collaborative, musical theater, so everybody has got to somehow get along.

Magic in plays and musicals, I think, is more often created because of the work of an incredible company rather than a single component.

Singing was always the thing - I played some leads in musicals. Then when I went to college, I joined a singing group.

I don't try to make 15 musicians sound like two each.

Creating sounds together with other musicians is something I've always liked doing.

Teamwork is a dance—engrossing to perform and exciting to watch.

The fact is that the beautiful, humanly speaking, is merely form considered in its simplest aspect, in its most perfect symmetry, in its most entire harmony with our make-up. Thus the ensemble that it offers us is always complete, but restricted like ourselves. What we call the ugly, on the contrary, is a detail of a great whole which eludes us, and which is in harmony, not with man but with all creation. That is why it constantly presents itself to us in new but incomplete aspects.

CHAPTER II—A DOUBLE QUARTETTE

All dress is fancy dress, is it not, except our natural skins?

I was never really interested in an operatic post, but I took on the Bastille because it seemed a unique opportunity to build an opera ensemble from scratch, and to deal with all the disciplines that go into opera - the music, the staging and the singing - in an interrelated way.

I think that if you put me and Sebastian Stan as Ric Flair and Arn Anderson in a Four Horsemen movie, and then you cast Ethan Suplee as Ole Anderson. Then you get someone wacked out of their head like Ben Foster or Emile Hirsch to play Tully Blanchard. It could be really cool.

A lot of times, working in stand up, you're by yourself, and so you just have to rely on yourself only... but I like working in an ensemble.

What are they playing?" Shannon asked. The fiddler was joined by a piper and another who played