There have been discussions of doing 'The Demon Cycle' on both large and small screen scale, and while there is no project currently in development, I think the series has both the big imagery and complex character development to have legs either as a TV series or film franchise.
Oh, I adored Mickey Mouse when I was a child. He was the emblem of happiness and funniness. You went to the movies then, you saw two movies and a short. When Mickey Mouse came on the screen and there was his big head, my sister said she had to hold onto me. I went berserk.
Some researchers sensibly suggest that rather than worrying too much about which programs our children are watching, we should concentrate on trying to reduce the total amount of time they spend in front of the screen.
I have a whole other side that has yet to be seen on screen.
It's rare that you cut out something that is really good. You screen all of it, and when the audience doesn't respond, you cut out whatever is holding the story down.
Having done 'M. Butterfly,' I'm conscious of the choices women make with their clothes and makeup on screen.
I don't kiss on screen. Period.
On 'Buffy' I wasn't all that high on the totem pole as far as responsibility and screen time.
I have grown up on literature and mythological stories. They have fascinated me since childhood, and I believe every character that I portray on screen is an extension of my personality to some degree. That is why whatever role I play seems in my comfort zone.
I like that because the fans want to see onstage what they know so well from the big screen.
In my opinion, it would be a lot better for the culture - meaning the culture of America - if there was more diversity in terms of storyline. In terms of the kind of content that you see about Americans of African descent on the screen.
Part of being famous is offering up this blank screen upon which people can project everything, and it's a sacred act, putting yourself out there, in a way that lots of celebrities aren't steeled for; they're not prepared for the degree to which people define them.
If you're writing a screenplay, you need to be prepared to let go: there's a good chance the words you write aren't going to be the ones that end up on screen.
I don't see a difference between the big screen and the small one. We are entertainers, and the medium doesn't matter.
In the end, I'm an actor. I'm paid for what I bring to the screen.
I spend so much time on the screen when I am writing, the last thing you want to do is spend more time on the Internet looking at a screen. That's what I hate about all this technology.
After 'Jessica Jones' came out, I started hearing firsthand from a lot of women who were so inspired by the character, who felt represented, who felt like watching Jessica on screen helped them in their own lives. Women are devouring content like that because everybody is complicated; not everybody is one thing.
What I was proud of was that I used very few parts to build a computer that could actually speak words on a screen and type words on a keyboard and run a programming language that could play games. And I did all this myself.
I have written my own screen version of Pern, but had no buyers yet.
People love to see themselves on screen in a way that makes sense and seems on point.
It's interesting to see these lives from places I may never go unfold on screen.
You gotta understand, when moving images first started, people wanted sound, color, big screen and depth.
We live in a digital world where all is available at the touch of a screen. Money has been simplified, changed subtly over time from tangible bills to numbers in cyberspace. Cash is no longer in a cloth bag; it's numbers on a screen. Numbers that can be manipulated and modified. If you run out of numbers, you can just buy some more, right?
Stills belong in the lobby, not on the screen.
You could summarize everything I did at Apple was making tools to empower creative people. 'QuickDraw' empowered all these other programmers to now be able to sling stuff on the screen. The 'Window Manager,' 'Event Manager,' and 'Menu Manager.' Those are things that I worked on that were empowering other people.
Let's be honest: we all watch the show at home and play 'armchair' 'Survivor,' inserting our opinions, comments and yelling at the TV screen.
I have played Dracula a thousand times on stage and I find I have become thoroughly settled in the technique of the stage and not of the screen.
It's good to get away from the editing suite. It's very unhealthy to be sitting in front of the screen for too long.
I always felt like something of an outsider. But I identified with people up on the screen. That made me feel like I wanted to be up on the screen too. I felt like eventually I would get there.
I've realized that what you think of when you make a 'big movie,' if it's actually a green screen movie, it's like doing independent New York theater because you don't have any backgrounds or props. So it's kind of like making the lowest budgeted film you could possibly imagine, plus $100 million.
I've portrayed so many diverse individuals on the screen that my own personality never emerged.
Because people see violence on the movie screen, they're not going to go out and hold up a liquor store and kill somebody. It really doesn't correlate.
I'm sure that people must say about me, on the screen, 'Good gracious, is Jeanette MacDonald going to take off her clothes - again?
It's difficult to see yourself up on screen without being a critic.
A lot of people tend to chew up the scenery. I'm a firm believer in less is more, especially on the big screen.
If people take the film and screen it whenever possible for their social and professional networks, we can continue to make a difference. It is one more element we have to use in the ongoing effort to take back our country.
