Quotes About Set

You put the Set animal in your locker? Do you know how much strength that requires?" "Yeah," I said. "I was there.

It was guarded by a few demons, but most of Set's forces were running towards our boat, screaming and throwing rocks (which tended to fall back down and hit them, but no one says demons are too bright)

Gwynneth had gone to his forge and set

Cities tend to reflect the character of their residents. Budapest is a dramatic, theatrical kind of place. More than anything else it resembles a stage set.

A land of fences is so temporary. You can change things as easily as a stage set. I used to act, you know. Sometimes in decent theaters. Wretched theaters too. Fences, what are they? Stage design. That's the nice thing about England. Hedges give a sense of history properly set down in the land.

If you were to say a witch's chess set instead of a witch's family , there would be some truth in that. Perhaps this is true of other families as well.

On set I keep myself to myself; I'd rather the director speak up. I'm not gonna direct a younger actor. I think the power of example works best, actually.

I would have set out very quickly the relationship with Europe.

That's all a man can hope for during his lifetime – to set an example – and when he is dead, to be an inspiration for history.

Dreamer of dreams, born out of my due time,Why should I strive to set the crooked straight?

Time doth transfix the flourish set on youthAnd delves the parallels in beauty's brow.

Then, as the warm winds of May turned into an even warmer June, I started to write my private list of Poirot's habits and character. I called it my 'dossier of characteristics'. It ended up five pages long and detailed ninety-three different aspects of his life. I have the list to this day – in fact, I carried it around on the set with me throughout all my years as Poirot, just as I gave a copy to every director I worked with on a Poirot film.

Around us, the disembodied human limbs were piling up, forming a circle around the fountain, fusing themselves to each other like Satan's LEGO set.

I'm very manipulative towards directors. My theory is that everyone on the set is directing the film, we're all receiving art messages from the universe on how we should do the film.

But God has set no traps for us. Quite the contrary. He has summoned us to the only true and full freedom.

Life? was what you worked to catch, the intense happiness of an object slightly set apart from you.

The question asked is not, 'What should be happening in my life?' but 'What is happening in my life?' The present moment, the present set of circumstances, the present relationships in our lives—this is where God lives. This is where God meets us and gives us life." — ALICE FRYLING

Perhaps a way to think together all the members of a set is to attend to a certain property and then consider all the things that have that property: e.g., all the natural numbers. Then many infinite sets are sets that could have been collected by human beings; but not nearly all--not, e.g., arbitrary collections of real numbers. (axiom of choice)

The first thing I learned about weapons is respect, and that carries into movies as well. If you're on set and you're dealing with weapons, live or not, you respect the weapon; you know how to handle it appropriately.

The retired L.A.P.D. motor cops who work set security now, all wear the same uniform, they're great guys with great stories, and they're great at their job, providing security on sets.

I have never been one of those actors who say, 'Oh, my character wouldn't do this,' or 'My character never wears an orange shirt,' or any of the number of inane things I've heard on movie sets throughout my career.

In some ways, it's easier to be the lead. Week after week, scene after scene, the rhythms of filming force you to peel away a certain amount of artifice. When you're on set that much, there's a license to let the character emerge from the work itself.

I don't know what it is, exactly, but there's a negative drag on film sets after the second week or so, a mutinous vibe because the infinite capacities of the directors and everybody else become quite finite and everybody's under the gun and it becomes work.

When you're on set, the crew are like your family because you see them every day, six days a week.