quote by James Lee Burke

I wouldn't write anything autobiographical. If you've lived a life like Laurence of Arabia, it might be a consideration, but otherwise it's a little bit vain, it seems to me.

— James Lee Burke

Contentment Laurence quotations

Yes, it's true, I've been called the Laurence Olivier of spoofs.

I guess that would make Laurence Olivier the Leslie Nielsen of Shakespeare.

I figure there are a few actors like Marlon Brando, George C.

Scott and Laurence Olivier who have been touched by the hand of God. I'm in the next bunch.

I always knew I wanted to be an actress, and I had the attitude that I would learn more under people like Samuel L. Jackson, Laurence Fishburne or Mike Myers than from someone who had never starred in a movie. I just didn't think that someone who had never been in a movie could teach me how to act in one.

On Laurence Olivier as Hamlet in a 1948 film: Olivier's idea of introspection was to hood his eyes, dentalize his consonants and let the camera circle his blondined head like a sparrow looking for a place to deposit its droppings.

Judge Laurence Silberman explains the origins of his ruling against the ban on handguns in Washington, D.C. He explains, 'It wasn't a right to bear arms granted by the Constitution, it was a right that was protected by the Constitution.'

If there be one man, more than another, who deserves to succeed in flying through the air, that man is Mr. Laurence Hargrave, of Sydney, New South Wales.

Attitudes to museums have changed. If it had Marilyn Monroe's knickers or Laurence Olivier's jockstrap they would flock to it.

One time in the late '50s, when Peter Finch, Laurence Harvey, and I were all offered the same movie role - the assumption being that we weren't friends - we marched up to producer Dino De Laurentiis's door and declared in unison, 'We don't think we're suitable for the part.'

The Brits are ghastly. I never would accept a Brit. It would be like Laurence Olivier being happy getting a TV Times award.

I started being interested in acting when I heard the voices of Sir Laurence Olivier and Sir John Gielgud and Sir Alec Guinness. I've had the great privilege of working with Sir Derek Jacobi and Sir Anthony Hopkins. These are people who inspire the work that I do.

My chief literary influences have been Paul Laurence Dunbar, Carl Sandburg, and Walt Whitman. My favorite public figures include Jimmy Durante, Marlene Dietrich, Mary McLeod Bethune, Mrs. Franklin D. Roosevelt, Marian Anderson, and Henry Armstrong.

We were all inspired by him as an actor and his iconography and thought, if we get somebody like Laurence Fishburne, we can tell a much more sophisticated, complicated version of Jack Crawford than we'd seen before as this large and in-charge and in-control guy, who is unflappable.

Laurence [Fishburne] is a great example of how to communicate to the audience as you're acting with another actor.

Laurence [Fishburn] helped redo some of the dialogue [in John Wick 2], he and Keanu [Reeves] workshopped it. And he couldn't have been more respectful couldn't have been more brilliant on set. I said, "look, I'm gonna have to work you a little bit here cause I only get you for three days." He never left set, was always engaging, always working on his lines, it was awesome.

I consider Laurence [Fishburn], Keanu [Reeves], both very acclaimed actors, I mean so good.

When I first met Laurence I was Keanu's [Reeves] stunt double on the first Matrix. So, a little evolution there with career status. But then cut to the thirteen/fourteen years later where now I'm asking Laurence Fishburne to trust my directorial capacity [in John Wick 2].

Keanu and I were in New York, I was prepping John Wick 2.

And when Keanu [Reeves], [writer] Derek Kolstad, and myself sat down and wrote the character, it was completely, one hundred percent based on Laurence Fishburne. Like, in my head I saw this guy.

I spent a lot of time with both [Laurence Fishburn and Keanu Reeves], obviously, on the Matrix trilogy. Worked a lot, on a day-to-day level, with Laurence Fishburne. And then we'd bumped into each other through the film community for years and years.

I try to do the same thing when I'm with young actors who are new and unsure.

I try to do the same thing for them that I saw Laurence [Fishburne] and Angela [Dasset]do for all of us on Boyz n the Hood.

When I meet people for the first time, I always put on my glasses because I feel like that's a little something extra between me and them. It's like the Laurence Dunbar poem "We Wear the Mask."

I played Othello, but I didn't sit around thinking how Laurence Olivier did it when he played it. That wouldn't do me any good.

Laurence Olivier said if you have ambition to be a serious classical actor, you must be as fit as an athlete. For me, the breakthrough was going to live in California. I exercised. I drank less. It was one of the things about California that had a positive impact on me.

I wrote my first play, Uncommon Women and Others, in the hopes of seeing an all-female curtain call in the basement of the Yale School of Drama. A man in the audience stood up during a post show discussion and announced, “I can't get into this, it's all about girls.” I thought to myself, “Well, I've been getting in to Hamlet and Laurence of Arabia my whole life, so you better start trying.”

A fan once stopped me outside a theatre and gave me as a gift a signed photograph of Sir Laurence Olivier. It was strange, but nice, too.

An ideal movie would be, like - to get this to happen, I have to work so much harder - but imagine Denzel Washington, Laurence Fishburne, Jamie Foxx, Eddie Murphy... Who else? Donald Faison. Directed by Steven Spielberg. That would be awesome.

I saw A Little Romance [and] I was so in love with Laurence Olivier.

I watched that movie over and over and just fell in love with love.

Pop managers are fixed in the dramatic stock character repertoire too, ever since the first British pop film musical, Wolf Mankowitz's 'Expresso Bongo' of 1959, with Cliff Richard as Bongo Herbert and Laurence Harvey as his manager. The key components were cast as X parts gay, X parts Jewish and triple X opportunistic.

I wanted to be Laurence Olivier, basically, to be a great classical actor, and also be able to do modern things.

You see, the Mets are losers, just like nearly everybody else in life.

This is the team for the cab driver who gets held up and the guy who loses out on a promotion because he didn't maneuver himself to lunch with the boss enough. It is the team for every guy who has to get out of bed in the morning and go to work for short money on a job he does not like. The Yankees? Who does well enough to root for them, Laurence Rockefeller?

When I went to first grade and the other children said that their fathers were farmers, I simply didn't believe them. I agreed in order to be polite, but in my heart I knew that those men were impostors, as farmers and as fathers, too. In my youthful estimation, Laurence Cook defined both categories. To really believe that others even existed in either category was to break the First Commandment.

I can manage a prose format as long as I keep closer to Laurence Sterne than to Henry James.

But as I grew up as a child, falling in love with the theater and Shakespeare, my heroes were Sir Laurence Olivier and Sir John Gielgud.

I always loved how people like Jon Voight and Laurence Olivier shocked you every time they came on-screen. They were so different each time. That's what I hope to do with acting - be the chameleon and not get stuck in a type.

Laurence Olivier said in an interview once that when he plays a tragedy he always aims for the funny parts, and the other way around. Because in a comedy you look for what's serious. I think that's true. Sometimes things are really funny if you're absolutely earnest. If you're really serious, it's hilarious.

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