Quotes About Observation

One sometimes feels a guest of one's time and not a member of its household.

Any actor working a long time should know how a shot is set up, where to place themselves, how to handle the lines. I'm a member of the crew, like the best boy, the electrician. What I'm good at is making eyes at the camera.

My fondest memories are of watching lambs being delivered.

I am a people watcher and I have a very good memory.

My first memory is of the eyes of my brother; he was looking at me all the time.

Men and women are like cats and dogs. I've learned more about myself from women. My comedy is based on this.

And I'd watch George C. Scott from backstage. He was one of my mentors.

When you're out on the touchline, like a winger, it is easier to play. You see everything: the mess, the crowd, the activity is all inside. When you play inside, you don't see anything in there because so much is happening in such a small space and all around you.

Luckily my own life is uncomplicated, which lets me really enjoy other people's complicated messes!

I can learn a lot from Messi. Watching how he does things will help me a lot in future.

Sometimes journalists say that goalkeepers can do a little more when they play against Messi, but I see it in every training: it does not matter where you place yourself; he's going to shoot to the other side.

Bill Powell is the only intelligent actor I've ever met.

For my part, as a filmmaker, I've never been a fly-on-the-wall documentarian. I have no commitment to that method. I believe it's a lie.

Because I'm an art historian, I have some experience of writing that comes out of close attention. That's what really art history is. You're looking at something very closely, and you try to write in a meticulous way about it.

Michael would take us on location and see how the colors worked in the forests and fields.

I learned a lot from watching actors like Michelle Gomez and Richard Coyle and Miranda Otto, but particularly in the beginning Michelle because I've never seen someone so fearlessly wild.

I think an office is just a microcosm of life and the different kinds of people that you will come across and interactions there, and I think if you all sit in a room together, then it gets a bit more intense and fun for people to watch, maybe.

'Fortitude' is like the world in microcosm. It's like watching America or Russia, only you're isolated. Once you're inside, you can't escape.

Artists are definitely, like, under a sort of microscope of scrutiny more than others.

The catcher is in the middle of everything. He sees it best.

Oh, it's essential. I mean, you have to - if I'm writing about the Middle East, I have to go there, and if possible, stay long enough to get a real feeling for what's going on.

Making sense of a political moment when you're in the midst of it is difficult: even if you avoid commercial and personal conflicts, it can still be hard to see it and understand it.

I'm always listening and watching; my ear is like a boom mike. And judging, frankly. Constantly judging.

I often draw from people in my own experience to base a character on, going back to my days with Mike Leigh.