Quotes About Screen

I don't play long parts. They must be short parts, but they've got to be parts that mean something, that matter, where people will notice when I'm on the screen, and people will remember the character after they've seen the film.

our use of electronic media—use of televisions, radios, computers, phones, iPods and MP3s, videos, and game players—now accounts for an average of slightly under eight hours (470 minutes) in an average American's typical twelve-and-a-half-hour day. Over

Cinema is a visual language, and you're always looking for visual metaphors for things. You know, if I was writing a play about Howard Hughes, I could have him give a monologue about how he's terrified to touch a doorknob. But on screen, you know, working with Marty Scorsese in 'The Aviator,' that became the series of images that told a story.

Really good writing, from my perspective, runs a lot like a visual on the screen. You need to create that kind of detail and have credibility with the reader, so the reader knows that you were really there, that you really experienced it, that you know the details. That comes out of seeing.

It's always a challenge to adapt a novel for screen, a visual medium.

You have to realize I like doing big movies that appear on a big screen. So the visuals and the audio have to be of a certain quality before I start to get excited about the thing.

I'm not in the business of adapting things that are popular for the sake of just getting it on the screen. I think there has to be a vital reason.

I wasn't surprised to find Samsung's OLED screen to be bright, vivid, and clear. It's beautiful, although in viewing some photos and videos, I found, as I have in the past, that - to my eye, at least - Samsung tends to oversaturate colors.

What attracts me to material are characters that I know - characters that I know people don't know but I know - and bringing them to the screen. Spotlighting voices that have not been heard before on screen.

I really wanted to make 'Everest' visceral, real. One thing that amazed me when I was scouting in base camp is the volume of Everest: It's humbling. I wanted to find a way to bring that to the screen. One way was 3D.

The Lashley that you see on the screen is Lashley when he's his own personality turned way up. MVP is me, with my volume, my personality volume on 11. If you look, that's the reason that we work so well.

I'm very selective about my scripts and about how I am projected on the screen.

Film is a game of projections upon projections, and the projected image on the screen is a game of light and shadows. There is nothing there; it is the brain that is decoding those things. The film doesn't have any decipherable kind of meaning if it's not seen.

At first it was kind of hard, because I had become used to just my phone screen in front of me. But sharing your songs with an audience is incredible.

I admire Mammootty as an actor and I have no issues sharing the screen with him.

For me, it was more a dramatic shift to go from the stage to the screen.

I saw the short stories people were doing on Kindle and really liked the idea of seeing something I'd written on that screen.

It is really awkward to see myself on screen.

It is awkward to see a director on the screen.

I find romancing on screen very awkward, it's rehearsed love but that's not the reason I have not done it yet. If that comes my way, I will embrace it as part of my job.

I think I have a certain awkwardness, and I don't know how that works on screen.

TV is the best babysitter.

I'm one of those people, when I see a film, I believe it to be true. You know, sort of the authenticity of the camera and seeing things on a screen.

So many actors say, 'Oh, I can't bear to see myself on screen,' but it's not true. Everyone loves to see themselves from a good angle.