Zitat des Tages über Requisiten / Props:
I love theatrical props: a cup filled with solid fake tea, say, or a collection of fake food, including a rubber turkey, which, during the holidays, I wrap in tinfoil so it appears to have just come out of the oven.
I think all those artists are artists who are appreciated because you believe their words and you appreciate their honesty in their music. If you don't appreciate the honesty in the music, the beat can be fly as hell but you'll never give an emcee props.
Acting is all about big hair and funny props... All the great actors knew it. Olivier knew it, Brando knew it.
I steal props from 'SNL' a great deal. Almost every sketch I'm in, I try to grab something from it, so I have a storage space full of props.
Of course voting is useful. But then again, I don't put a big glow to it. Voting is about as essential as washing yourself. It's something you're supposed to do. Now, you can't go around bragging, expecting to get props because you voted. That's stupid.
I'm a 'Clash of the Titans'/'Star Wars' baby. I'm not a new 'Star Wars' baby. I'm not an 'Avatar' baby. That full CG doesn't work for me. I need interactivity. I need to feel the goo. I need to feel people coming out of animatronics and just interacting with props.
An acting assistant stage manager in a theater in Canterbury, a rep theater. A small wage but just enough to get by on, and I made props and I walked on, and I changed scenery, and I realized that I just loved it.
I love to come in and play with a wig or glasses or clothes. I love using props. I'm from the Peter Sellers school of trying to prepare for the character.
An actor has to be very, very careful, as one of the most wonderful props - and actors love props - is a cigarette. There's so much to do with it: you can bring it up to your face, play with the smoke. It's just the greatest - ever since I was 16 and in acting school in England, I've been playing around with cigarettes.
There's this group online that I frequent. It's a group of prop crazies just like me called the Replica Props Forum, and it's people who trade, make and travel in information about movie props.
Well, really the way worked was that I had probably built fifty robots before Mystery Science Theater, and I had sold them in a store in Minneapolis in a store called Props, which was kind of a high end gift shop.
The main prank that we play with props is for people's birthdays. The special effects people will put a little explosive in the cake so it blows up in their face - that's always fun to play on a guest star, or one of the trainees or someone who's new.
I carried props into the subway - the latest 'Semlotext(e),' a hefty volume of the Frankfurt School - so that the employed would not get the wrong idea or, more to the point, the usual idea about me.
I watched a couple of really bad directors work, and I saw how they completely botched it up and missed the visual opportunities of the scene when we had put things in front of them as opportunities. Set pieces, props and so on.
I have to give the SNL crew props - it cannot have been easy to work with me.
I don't follow any system. All the laws you can lay down are only so many props to be cast aside when the hour of creation arrives.
I spend my money on my props and my creations. I'm an inventor.
When I used to do musical theatre, my dad refused to come backstage. He never wanted to see the props up close or the sets up close. He didn't want to see the magic.
It bring a tear to my eye to see native New York people give me my props because New York is stubborn and arrogant.
I like that totally mixed up kind of eclectic group of personal props and bits of costume and I think the fun of doing that is where I was very lucky with Doctor Who.
Fat bodies are used comically. I respect Rebel Wilson so much, and Melissa McCarthy. I love them both. But so often, I feel like fat female bodies are used as props.
To me, spending millions of dollars recreating the world's sadness with actors and props and sets - it seems like a kind of arrogant waste of money... Unless, that is, it's a film about an historical event.
You can't act alone. Use the props, the setting, the crew around you, and of course, your fellow actors.
As a youngster, when I was active in church, I had a lot of fun choosing and hanging massive stars and making the cribs. I was also very involved in the Christmas plays, though not as an actor, but I took joy in setting up the props.
We have grown up watching women be used as props on a man's journey. It's not our fault that that's what we saw as children. But we need to acknowledge that and do better.
Nothing will turn you into more of a 'Star Wars' fan than being on a 'Star Wars' set. When you see how lovingly that world is rendered by the set designers, costume designers, props department, art department, they genuinely build an actual world. That is not an exaggeration. They build a world.
I've done a lot of geeky things in my life, but I think the geekiest of all was my first effort to build props and cosplay, when I was about twelve years-old.
I do like to keep mementos from my work, whether they be photos, the backs of make-up chairs or even props and clothes.
Paradoxically, the people and state of Japan living on such moral props were not innocent but had been stained by their own past history of invading other Asian countries.
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 don't like having characters as props. I never want a character to be a prop.
I like SF environments that seem used, and lived in, every day; not just rolled off a props truck. Look around you! Everything is scuffed, scratched, dinged, faded, even rusty.
I want to bring magic back to where it started, which is not about the props, and it's not about me as a magician: it's about the audience and playing with their minds and playing with their perception of magic and having fun with it.
When I started producing, it was George Abbott directing and he would let me do the scenery. He just wanted to know where the doors were - the entrances, the exits; the tables, the props - and then I would hire the designer. I took charge of the visuals - scenery and costumes and so on. And, the shows looked wonderful.
I can't even look at daily comic strips. And I hate sitcoms because they don't seem like real people to me: they're props that often say horrible things to each other, which I don't find funny. I have to feel like they're real people.
