Tom Felton Quotes

There's not one part of dialogue left behind on 'Riverdale.' You have to really be on your toes when you watch it.

That is something I try to stress to the wrestlers nowadays - there is an epidemic of spot monkeys in the business. They often are so concerned with the fans' reactions that they're willing to kill themselves, while I am trying to help them move past that. It is not about the move, it's about the moment you create, and that's what I'm doing through my broken brilliance.

If you speak in a different accent, you begin to move in a slightly different way. You think in a slightly different way. It's part of trying to find what makes a character.

What's best for business is just continue to have an entertaining product with great, interesting characters.

It has been said that true religion will make a man a more thorough gentleman than all the courts in Europe. And it is true that you may see simple laboring men as thorough gentlemen as any duke, simply because they have learned to fear God; and, fearing him, to restrain themselves, which is the very root and essence of all good breeding.

When you're studying drama, when you're a young actor, there are simple rules about acting. "Why am I here? What prevents me from leaving? What am I trying to get? How do I hide something?" So when you're making a film like Abel's movie, you want to be thinking about those things all the time. And you wanna be armed with those things, and you hope the other actors you're working with have the same understanding of drama and scene and acting. Sometimes it works and sometimes it doesn't.

I either wrote at the end of the night or sometimes in the morning. Sometimes they were full entries, or others I just wrote notes about things that happened that day or funny thoughts I'd had. If I had a truly eventful day, I'd take the time to write it all down in great detail. I edited a lot of content out once it was all finished - there was way too much, and I didn't want to bore anyone. I like to keep the book [Superficial: More Adventures from the Andy Cohen Diaries] moving at a fast pace.

I think the business of writing a great deal of it is the business of paying attention to your characters, to the world they live in, to the story you have to tell, but just a kind of deep attention and out of that if you pay attention properly the story will tell you what it needs.

If I'm not like my characters, I think just it's like a musician liking to play certain pieces of music rather than others. I just have more satisfaction when playing complicated things rather than some of your more straightforward, simple moments. . . . I like to be challenged.

I figured I needed a gimmick, so I dreamed up this drawl, the squint and a way of moving meant to suggest that I wasn’t looking for trouble but would just as soon throw a bottle at your head as not. I practiced in front of a mirror.

Money is part of how we move through the world, what stores and restaurants we go into, whether we take a train to the airport or a taxi. Describing characters living in the real world requires describing them engaging with money. There are also so many emotional aspects to money - feelings of inadequacy, feelings of security. I am not sure if there needs to be more about money in fiction, but the absence of this aspect can make a story feel somehow frictionless and unreal.

He hated games they made the world look too simple. Chess, in particular, had always annoyed him. It was the dumb way the pawns went off and slaughtered their fellow pawns while the king lounged about doing nothing. If only the pawns would've united ... the whole board could've been a republic in about a dozen moves.

I think television has become such an interesting place for characters and for incredible storytelling. Half of what I watch are television shows that I've become obsessed with. I just think that it's opened up so much, to be such an interesting and creative medium, and so many wonderful directors and actors are moving to television because it is a great medium for telling stories and for creating a character over a long period of time.

People have an infinite attention span if you are entertaining them.

Jay Lethal doing that Black Machsimo character, as good as that was, it was fantastic and so entertaining. But now Jay Lethal has turned himself into this very formidable, dominant world champion, who is having some of the best matches in the entire world. So it's really cool.

Lying under an acacia tree with the sound of the dawn around me, I realized more clearly the facts that man should never overlook: that the construction of an airplane, for instance, is simple when compared [with] a bird; that airplanes depend on an advanced civilization, and that were civilization is most advanced, few birds exist. I realized that If I had to choose, I would rather have birds than airplanes.

Nowadays it seems that moral education is no longer considered necessary. Attention is wholly centered on intelligence, while the heart life is ignored.

I didn't play the Ghost Rider in the first movie. That was a stuntman. In this film, the Ghost Rider feels much more alive because I did put some thought into how he should walk and into how he should move. I was so into the character, in fact, that I would paint my face with white and black makeup to look like a skull. And I put on blacked-out contact lenses, so I almost looked like an Afro-New Orleanian voodoo icon by the name of Baron Samedi. Oh man, I would walk around the set without saying a word to anybody, and I could see the fear in my co-stars' and co-directors' eyes.

We live in a sea of general ideas, so that's not a novel, since there are so many general ideas. But the moment a particular idea is linked to a character, it's like an engine moves it. Then you have a novel underway.

Faith can move mountains but let them happily fall down on the heads of other people. What's the point in moving mountains when it's so simple to climb over them?

For me, what grabs my attention about the project is usually the character immediately and then the story, and then the people that are involved.

We have this saying, and it's been very useful when a series, 'The Mindy Project' goes for longer than a hundred episodes, which is Mindy character can never get what she wants when she wants it. We enjoyed it because it felt very real to her character to make a big impulsive move and it seems like she has everything, this instant family, a guy she loves and then there's a moment of panic.

An audience proves its discipline by its capacity for stillness. Those who have never practiced continuous application to an exacting process cannot settle down to simple watching; they must chew gum, they must dig the peel off their oranges, they must shift from foot to foot, from buttock to buttock.

It begins with a character, usually, and once he stands up on his feet and begins to move, all I can do is trot along behind him with a paper and pencil trying to keep up long enough to put down what he says and does.

In truly great films - the ones that people need to make, the ones that start speaking through them, the ones that keep moving into territory that is more and more unfathomable and uncomfortable - nothing's ever simple or neatly resolved. You're left with a mystery.