Quotes About Adaptation

I have studied Freud and that kind of thing. I just never thought I would need it.

I've studied the way the Internet kids play. I want to know what they're thinking when they play pots against me.

Instead, most colleges are studies in obsolescence.

As in all of biology, comparative studies showing differences among species are often helpful for a better understanding of the basic mechanisms; with all its advantages, there is a danger of clinging exclusively to one model organism.

I think it's important, whether it be learning from how a guy takes care of his body, how a guy studies, how a guy is a mentor, how a guy is a leader, you take bits and pieces that fit the person you are and you don't try to be somebody you're not.

Being in a recording studio is a very different feel from performing onstage. I mean, obviously, you can't just go in and do what you would do onstage. It reads differently.

No matter how many modern parts I do, people still refer to me as Mrs. Costume Drama. Fight Club is a studio pic, and I've done very few of those. I've got a feeling it's going to change things for me.

In the studio, I don't do a lot of work that requires repetitive activity. I spend a lot of time looking and thinking and then try to find the most efficient way to get what I want, whether it's making a drawing or a sculpture, or casting plaster or whatever.

We seem to do better in the studio than we do in a live environment.

It wasn't a problem for me drawing humans although I had originally come to the studio with the idea that what I had to offer them was my knowledge in the drawing of animals.

During my seven-year contract with RKO, there were seven different studio presidents, from David O. Selznick to Charles W. Koerner. You literally had to check the name on the door so as not to call the new boss by the former boss's name.

I write R-rated action dramas, and every year that goes by, that gets to be a smaller and smaller world you have to work in. You have to think of how to get the studio excited and sell them something.

Actually, my true name is Rosa Dolores Alverio. And then I became Rosita Moreno when a stepfather stepped in. And when I got to MGM studios, which was my first film contract, they just thought that Rosita wasn't a good name, and they changed it to Rita. And yes, it was their idea.

I've always believed in expanding the definition of what a Marvel Studios movie could be.

My father believed in moving on with time; he always said that the show must go on, come what may. That is exactly what we did when it came to RK Studios.

To be quite honest, I've been very blessed when I've worked with Hollywood. The studios that have purchased my work to be adapted to film have really liked the work and wanted to stay as close as they could to what the book was.

Movie studios could learn a thing or two from British publishers. There is an intelligence, and a respect for writers; things that you hope for and never get in Hollywood.

When you're not in studios, you don't have any luxuries; you can't control the elements, so you have to put up with those extremes.

I wish I had come along when the studios were making those big musical pictures. It would be great to do re-makes of some of the old ones like 'Porgy and Bess' or 'Showboat.' I'd love to do 'em.

In an age of molecular genomics, it is ever more apparent that the fingerprints of evolution are pressed deeply into human DNA, just as they are into the genomes of every other organism. Biologists understand this, and so do students who study the science of life.

If you really want to study evolution, you've got go outside sometime, because you'll see symbiosis everywhere!

That is what a good manager does - you study and think and discuss, and you come up with a model of playing.

No study is possible on the battlefield.

I started to study, because I knew I had to learn a lot about myself as an actor; you can't act the same as you did as a child.