Actor Famous Quotes

Your need for acceptance can make you invisible in this world. Don't let anything stand in the way of the light that shines through this form. Risk being seen in all of your glory.

I've been thinking lately about immortality. What it means to be remembered, what I want to be remembered for, certain questions concerning memory and fame. I love watching old movies. I watch the faces of long-dead actors on the screen, and I think about how they'll never truly die. I know that's a cliché but it happens to be true. Not just the famous ones who everyone knows, the Clark Gables, the Ava Gardners, but the bit players, the maid carrying the tray, the butler, the cowboys in the bar, the third girl from the left in the nightclub. They're all immortal to me. First we only want to be seen, but once we're seen, that's not enough anymore. After that, we want to be remembered.

You know, fame is a funny thing, man, especially, you know, actors, musicians, rappers, rock singers, it's kind of a lifestyle and it's easy to get caught up in it - you go to bars, you go to clubs, everyone's doing a certain thing... It's tough.

The one thing all famous authors, world class athletes, business tycoons, singers, actors, and celebrated achievers in any field have in common is that they all began their journeys when they were none of these things. Yet still, they began their journeys.

Keanu Reeves?" she asks in amazement. I nod. "What did he wish for?" "Isn't it obvious?" I say, waving a hand at the screen. "Fame." "That's why he's famous? Because of a wish?" "Have you seen his movies? Surely you didn't think he made it on his acting skills?" I grant wishes; I don't work miracles. Viola looks back at the screen, eyes screwed up in awe. "I guess that makes sense," she says faintly as my former master delivers a line poorly. "Wow.

Gus is the Cat at the Theatre Door. His name, as I ought to have told you before, Is really Asparagus. That's such a fuss To pronounce, that we usually call him just Gus. His coat's very shabby, he's thin as a rake, And he suffers from palsy that makes his paw shake. Yet he was, in his youth, quite the smartest of Cats — But no longer a terror to mice or to rats. For he isn't the Cat that he was in his prime; Though his name was quite famous, he says, in his time. And whenever he joins his friends at their club (which takes place at the back of the neighbouring pub) He loves to regale them, if someone else pays, With anecdotes drawn from his palmiest days. For he once was a Star of the highest degree — He has acted with Irving, he's acted with Tree. And he likes to relate his success on the Halls, Where the Gallery once gave him seven cat-calls. But his grandest creation, as he loves to tell, Was Firefrorefiddle, the Fiend of the Fell.

All those happy, pretty, successful people- he hated them because he knew they didn't really exist, and he hated even more the magazine that glorified them and in a way that made them exist, actors, rock musicians, famous writers, politicians. Those aren't people, he fumed, they're photographs.

The director mentions the whispers about Clifton's sexual orientation, a supposed gig on a porn site years ago, a rumor about a very famous actor and a tryst in Santa Barbara and Clifton's denial in a Rolling Stone cover story about the very famous actor's new movie which Clifton had a small part in: 'We're so into girls it's ridiculous.

Who is your famous crush? If a super-hot Hollywood actor who also happened to be a great person wanted to take you home—and the lights stayed on during the deed—what would you do? I mean, not in theory. Honestly, what would you do?” Claire looked at me for a long moment then asked, “Would I get a heads up a few months ahead of time? So I could eat low carb and start working out?” “No.” “Then, honestly, I’d run the other way.

Politics is nothing more than the elite's version of Gang Wars. You have the left gang and the right gang and they will literally kill people to achieve more control for themselves.

I don’t have any regrets,” a famous movie actor said in an interview I recently witnessed. “I’d live everything over exactly the same way.” “That’s really pathetic,” the talk show host said. “Are you seeking help?” “Yeah. My shrink says we’re making progress. Before, I wouldn’t even admit that I would live it all over,” the actor said, starting to choke up. “I thought one life was satisfying enough.” “My God,” the host said, cupping his hand to his mouth. “The first breakthrough was when I said I would live it over, but only in my dreams. Nocturnal recurrence.” “You’re like the character in that one movie of yours. What’s it called? You know, the one where you eat yourself.” “The Silence of Sam.” “That’s it. Can you do the scene?” The actor lifts up his foot to stick it in his mouth. I reach over from my seat and help him to fit it into his bulging cheeks. The audience goes wild.

[Marilyn] Monroe, the consummate sexual doll, is empowered to act but afraid to act, perhaps because no amount of acting, however inspired, can convince the actor herself that her ideal female life is not a dreadful form of dying. She grinned, she posed, she pretended, she had affairs with famous and powerful men. A friend of hers claimed that she had so many illegal abortions wrongly performed that her reproductive organs were severely injured. She died alone, possibly acting on her own behalf for the first time. Death, one imagines, numbs pain that barbiturates and alcohol cannot touch.

I was going to be a famous writer, author, auteur, musician, actor, director…. I ended up being a beautiful fool.

You won't get anything without hard work. What you get without hard work will never fructify.

She meant both the famous actor and a young man I’d known a hundred years ago, the one who hadn’t crossed my mind in such a long time. The two of them died together.

We are the stars of our own world and we are also actors who take small parts in the outside world, yet a few others take big parts doing something spectacular to become famous or infamous.

I find the writings of actors to be interesting. Actors are people who are famous for speaking words that others have crafted for them, and very often they themselves are incredibly inarticulate. If they were ducks, they couldn’t even say “quack” without someone writing it for them.

Ford3 Harrison (b.1942), American actor. He became internationally famous with his leading roles in the science-fiction film Star Wars (1977) and its two sequels.

He needed the very famous actor to know that you could be ordinary and attempt something extraordinary, without being able to explain it in a logical way.

Power works in funny ways. He was, and still is, one of the most famous actors in the world.

When you become a famous director someday, will you make sure the coffee cups actually have liquid in them when actors hold them in scenes?

~Does it bother you that you didn’t become a famous actor? That you didn’t get a break?~ ~David, there aren’t any guarantees in life. Not for your friends who want to be all of sorts of things. Not for you. The only thing we can do every single day we wake up is try to do the things that we can do the best; enjoy the things we get, and pay attention to when and why we’re happy. I didn’t know what I really wanted until I held you in my arms. In that minute, the very first minute they brought you to me wrapped in that blanket, I knew my little dream about myself was nothing in comparison.~

Who’s your famous dream date?” “Charles Leclerc,” she said, without even pausing. “Who the hell is that?” I asked, picturing some period piece dramatic actor. “Formula One driver. French, maybe. Hot.

They acted because they loved acting, but also, let’s be honest here, to be noticed. All they wanted was to be seen. I’ve been thinking lately about immortality. What it means to be remembered, what I want to be remembered for, certain questions concerning memory and fame. I love watching old movies. I watch the faces of long-dead actors on the screen, and I think about how they’ll never truly die. I know that’s a cliché but it happens to be true. Not just the famous ones who everyone knows, the Clark Gables, the Ava Gardners, but the bit players, the maid carrying the tray, the butler, the cowboys in the bar, the third girl from the left in the nightclub. They’re all immortal to me. First we only want to be seen, but once we’re seen, that’s not enough anymore. After that, we want to be remembered.

Some of the more sought-after signers are, in no particular order, presidents, military heroes, sports icons, actors, singers, artists, religious and social leaders, scientists, astronauts, authors, and Kardashians.

We’re so lucky to be in this position, all of us who make our living as actors, and I find complaints about invasion of privacy to be disingenuous, frankly. I mean, let’s be real here, we wanted to be famous, right?

For everyone, though, the persona must relate to objects and protect the subject. This is its dual function. While introverts can be very outgoing with a few people, in a large group they shrink and disappear and the persona often feels inadequate, particularly with strangers and in situations in which the introvert does not occupy a defined role. Cocktail parties are a torture, but acting a role on stage may be a pure joy and pleasure. Many famous actors and actresses are quite deeply introverted. In private they may be shy, but given a public role they feel protected and secure and can easily pass as the most extroverted types imaginable.

Back at Santa Anita, a five-year-old boy, George Takei, who later became a famous actor, was fond of the searchlights. He thought they were there to help him find his way to the latrine and back—rather than to prevent him from escaping.

I just want ambitious teenagers to know it is totally fine to be quiet, observant kids. Besides being a delight to your parents, you will find you have plenty of time later to catch up. So many people I work with—famous actors, accomplished writers—were overlooked in high school. Be like Allan Pearl. Sit next to the class clown and study him. Then grow up, take everything you learned, and get paid to be a real-life clown, unlike whatever unexciting thing the actual high school class clown is doing now.

It infuriates him, this killing, this death. Infuriating that this is what we’re known for now, drug cartels and slaughter. This my city of Avenida 16 Septembre, the Victoria Theater, cobblestone streets, the bullring, La Central, La Fogata, more bookstores than El Paso, the university, the ballet, garapiñados, pan dulce, the mission, the plaza, the Kentucky Bar, Fred’s—now it’s known for these idiotic thugs. And my country, Mexico—the land of writers and poets—of Octavio Paz, Juan Rulfo, Carlos Fuentes, Elena Garro, Jorge Volpi, Rosario Castellanos, Luis Urrea, Elmer Mendoza, Alfonso Reyes—the land of painters and sculptors—Diego Rivera, Frida Kahlo, Gabriel Orozco, Pablo O’Higgins, Juan Soriano, Francisco Goitia—of dancers like Guillermina Bravo, Gloria and Nellie Campobello, Josefina Lavalle, Ana Mérida, and composers—Carlos Chávez, Silvestre Revueltas, Agustín Lara, Blas Galindo—architects—Luis Barragán, Juan O’Gorman, Tatiana Bilbao, Michel Rojkind, Pedro Vásquez—wonderful filmmakers—Fernando de Fuentes, Alejandro Iñárritu, Luis Buñuel, Alfonso Cuarón, Guillermo del Toro—actors like Dolores del Río, “La Doña” María Félix, Pedro Infante, Jorge Negrete, Salma Hayek—now the names are “famous” narcos—no more than sociopathic murderers whose sole contribution to the culture has been the narcocorridas sung by no-talent sycophants. Mexico, the land of pyramids and palaces, deserts and jungles, mountains and beaches, markets and gardens, boulevards and cobblestoned streets, broad plazas and hidden courtyards, is now known as a slaughter ground. And for what? So North Americans can get high.

Everybody wants to be famous, but nobody wants to do the work. I live by that. You grind hard so you can play hard. At the end of the day, you put all the work in, and eventually it’ll pay off. It could be in a year, it could be in 30 years. Eventually, your hard work will pay off.

When famous singer is following your account, When profesional photographers, CEOs, authors, and attorneys, added you into their circle, When a popular model added you as their friend, When a famous Korean actor asked you for adding him into your circle...... You're feeling wow and amazed, but the truth is you need your real friends

a psychologist named Solomon Asch conducted a series of now-famous experiments on the dangers of group influence. Asch gathered student volunteers into groups and had them take a vision test. He showed them a picture of three lines of varying lengths and asked questions about how the lines compared with one another: which was longer, which one matched the length of a fourth line, and so on. His questions were so simple that 95 percent of students answered every question correctly. But when Asch planted actors in the groups, and the actors confidently volunteered the same incorrect answer, the number of students who gave all correct answers plunged to 25 percent.

Sir Gerald du Maurier, the most famous actor-manager of his day, died in April 1934, aged sixty-one. His daughter Daphne did not attend his funeral in Hampstead but instead went onto the Heath and released some pigeons, aware that this might seem an affected thing to do but believing it to be a gesture in keeping with her father’s spirit.

Make sure your goal is not focused on having this or that, such as a mansion by the sea, your own company, or ten million dollars in the bank. An enlarged image of yourself or a vision of yourself having this or that are all static goals and therefore don’t empower you. Instead, make sure your goals are dynamic, that is to say, point toward an activity that you are engaged in and through which you are connected to other human beings as well as to the whole. Instead of seeing yourself as a famous actor and writer and so on, see yourself inspiring countless people with your work and enriching their lives. Feel how that activity enriches or deepens not only your life but that of countless others.

In 1593, soon after Marlowe’s murder, a troop of English actors brought a production of the Tragical History of Doctor Faustus to Germany. Through some metamorphosis, the tragedy became a comedy, and the comedy was then transformed into a puppet show. It was more than likely in this form that the young Goethe first came upon what would become his most famous work.

Perhaps because he grew up on the Eastern Seaboard, where affection was kept in the cupboard with the hurricane lamps, or perhaps it was merely because his parents, including a loving mother who, like a famous actor omitting from a script lines she cannot pronounce, simply could not say “I love you.” Less used to tease her about this; he knew she loved him, knew this beyond any doubt,

Dissimulation is not fraud. It is an effort not to show things as they are. And it is a difficult effort: when we excel, others must not recognize our excellence. If someone were to become famous for his ability to disguise himself, as actors do, all would know that he is what he pretends to be. But concerning the true, excellent dissimulators, who have existed and exist still, we have no information.

Between 1951 and 1956, just as Osborn was promoting the power of group brainstorming, a psychologist named Solomon Asch conducted a series of now-famous experiments on the dangers of group influence. Asch gathered student volunteers into groups and had them take a vision test. He showed them a picture of three lines of varying lengths and asked questions about how the lines compared with one another: which was longer, which one matched the length of a fourth line, and so on. His questions were so simple that 95 percent of students answered every question correctly. But when Asch planted actors in the groups, and the actors confidently volunteered the same incorrect answer, the number of students who gave all correct answers plunged to 25 percent. That is, a staggering 75 percent of the participants went along with the group’s wrong answer to at least one question.

I was thinking about … how disarming is the ability to make people laugh. It’s a gift, mimicry, but it’s not acting; in a way it’s the opposite of acting, which is why comedians are seldom good actors. There’s an element of exaggeration in the imposture; the copy is the original painted with a broad brush and it can be grotesque, even cruel. But no one is offended. People are drawn to the funnyman who can imitate a politician or a famous actor or an ethnic type, especially his own ethnic type.

Narrative horror, disgust. That's what drives him mad, I'm sure of it, what obsesses him. I've known other people with the same aversion, or awareness, and they weren't even famous, fame is not a deciding factor, there are many individuals who experience their life as if it were the material of some detailed report, and they inhabit that life pending its hypothetical or future plot. They don't give it much thought, it's just a way of experiencing things, companionable, in a way, as if there were always spectators or permanent witnesses, even of their most trivial goings-on and in the dullest of times. Perhaps it's a substitute for the old idea of the omnipresence of God, who saw every second of each of our lives, it was very flattering in a way, very comforting despite the implicit threat and punishment, and three or four generations aren't enough for Man to accept that his gruelling existence goes on without anyone ever observing or watching it, without anyone judging it or disapproving of it. And in truth there is always someone: a listener, a reader, a spectator, a witness, who can also double up as simultaneous narrator and actor: the individuals tell their stories to themselves, to each his own, they are the ones who peer in and look at and notice things on a daily basis, from the outside in a way; or, rather, from a false outside, from a generalised narcissism, sometimes known as "consciousness". That's why so few people can withstand mockery, humiliation, ridicule, the rush of blood to the face, a snub, that least of all ... I've known men like that, men who were nobody yet who had that same immense fear of their own history, of what might be told and what, therefore, they might tell too. Of their blotted, ugly history. But, I insist, the determining factor always comes from outside, from something external: all this has little to do with shame, regret, remorse, self-hatred although these might make a fleeting appearance at some point. These individuals only feel obliged to give a true account of their acts or omissions, good or bad, brave, contemptible, cowardly or generous, if other people (the majority, that is) know about them, and those acts or omissions are thus encorporated into what is known about them, that is, into their official portraits. It isn't really a matter of conscience, but of performance, of mirrors. One can easily cast doubt on what is reflected in mirrors, and believe that it was all illusory, wrap it up in a mist of diffuse or faulty memory and decide finally that it didn't happen and that there is no memory of it, because there is no memory of what did not take place. Then it will no longer torment them: some people have an extraordinary ability to convince themselves that what happened didn't happen and what didn't exist did.

Actress Winona Ryder, who starred in Beetlejuice, Mermaids, Bram Stoker’s Dracula, and Little Women thought she had it all. She was famous, making lots of money, and was romantically involved with actor Johnny Depp. But it wasn’t enough. She shared in an interview in October 2000, “When I was 18, I was driving around at two in the morning, completely crying and alone and scared. I drove by this magazine stand that has this Rolling Stone that I was on the cover of, and it said, ‘Winona Ryder: The Luckiest Girl in the World.’ And there I was feeling more alone than I ever had.

Don Chrisantos Michael Wanzala "Don CM Wanzala" (born April 13), popularly known as Don Santo (stylized as DON SANTO) is a Kenyan singer, rapper, songwriter, arranger, actor, author, content producer, Photo-Videographer, Creative Director (Blame It On Don), entrepreneur, record executive and Leader of the Klassik Nation and chairman and president of Global Media Ltd, based in Nairobi City in Kenya. ​ The genius of DON SANTO rests in his willingness to break from traditional formula and constantly push the envelope. He flips the method of the moment with undeniable swagger and bold African sensibility. As a songwriter, Santo revisits simple, but profound aspects of the human experience – love, lust, desire, joy, and pain that define classical art and drama. He applies his concept to rich, full vocals that exude his intended effect. It is this uncanny ability to compose classics and deliver electrifying live performances that define everything that is essential DON SANTO. In 2015, Santo won the East Africa Music Awards in the Artist of the year Category while his song "Sina Makosa" won the Song of The year. A believer in GOD, FAMILY & GOOD LIFE (Klassikanity).

Here's the truth. If you have a choice between auditioning for a great role over a bad role, you are privileged. That means not only do you have a top agent who can get you in, you are at a level that you would be considered for it. Our profession at any given time has a 95 percent unemployment rate. Only 1 percent of actors are famous, and we won't get into defining famous. The 0.04 percent are the stories you read about in the media. 'Being picky,' 'dropping agents,' making far less than male counterparts. Never having any regrets in terms of roles they've taken. Yada, yada, yada.

Raquel laughed, and David joined her. They sounded slightly manic. “You’re free now,” he said. “Of all of it,” she answered, and I looked up to see them locked in a gaze I’d previously only observed between actors on Easton Heights—one filled with all the things unspoken over the years, all the betrayals and fears and pain left behind in favor of overwhelming love. It was beautiful. Oh, who am I kidding, it was awkward as all heck and I didn’t have time for it. “Okay! So, you may have noticed Lend is in the kitchen.” “Mmm hmm,” Raquel answered, reaching up to smooth down a stray piece of David’s hair. “Yeah, that’d be the big faerie curse.” “Farie curse?” She actually turned toward me; David took both her hands in his. “Yup. Really funny one, too. See, any time Lend and I are in the same room or can see each other or could actually, you know, touch, he falls fast asleep.” “Oh,” Raquel frowned. “So I need your help. You know all the names of the IPCA controlled faeries, right?” She nodded, her frown deepening. “Well, it was a dark faerie curse, so I figure we need a dark faerie to undo it. So you call an Unseelie faerie, we give him or her a named command to break the curse, ta-da, we can double-date!” “Wait, who can double-date?” Lend asked. “I’ll let your dad tell you. So. Faerie?” Raquel heaved a sigh, along the lines of her famous things never get easier, do they? sign, and, boy, I agreed with her. “To be honest, I don’t know which court most of the faeries belong to.” “You don’t? How can you not know? It seems like pretty vital information to me. You know, ‘Are you a member of the evil court kidnapping humans and plotting world domination, or a member of the moderately less evil court who just wants to get the crap off the planet?’ sort of a survey when you get them.

Wild Times Since Mexico accepted communism as a legitimate political party during the 1920’s and allowed refugees greater flexibility of thought, it became a haven from persecution. Moreover, living in Mexico was less costly than most countries, the weather was usually sunny and no one objected to the swinging lifestyle that many of the expats engaged in. It was for these reasons that Julio Mella from Cuba, Leon Trotsky from Russia and others sought refuge there. It also attracted many actors, authors and artists from the United States, many of whom were Communist or, at the very least were “Fellow Travelers” and had leftist leanings. Although the stated basic reason for the Communist Party’s existence was to improve conditions for the working class, it became a hub for the avant-garde, who felt liberated socially as well as politically. The bohemian enclave of Coyoacán now a part of Mexico City, where Frida Kahlo was born, was located just east of San Angel which at the time was a district of the ever expanding City. It also became the gathering place for personalities such as the American actor Orson Welles, the beautiful actress Dolores del Río, the famous artist Diego Rivera and his soon-to-be-wife, “Frida,” who became and is still revered as the illustrious matriarch of Mexico.

Instead, my biggest piece of advice to anyone just starting out, or to anyone who feels like they are taking a wrong turn along the way, is this. Find something you want to do and learn how to do it really well. Take what you got and make the most of it. Learn how to do something, whatever it is, you would choose to do for nothing. Whatever it is, when you are doing it, it makes you feel amazing and most yourself. Throw yourself into it. Challenge yourself to be the best you can be. We can’t all be famous actors. But, if you can find something you love and if that something will also pay the bills, you will be on your way to your own personal paradise.

Sir Magnus Donners himself appeared to greet his guests at exactly the same moment. I wondered whether he had been watching at a peephole. It was like the stage entrance of a famous actor, the conscious modesty of which is designed, by its absolute ease and lack of emphasis, both to prevent the performance from being disturbed at some anti-climax of the play by too deafening a round of applause, at the same time to confirm--what everyone in the theater knows already--the complete mastery he possesses of his art. The manner in which Sir Magnus held out his hand also suggested brilliant miming of a distinguished man feeling a little uncomfortable about something.

I've been thinking lately about immortality. What it means to be remembered, what I want to be remembered for, certain questions concerning memory and fame. I love watching old movies. I watch the faces of long-dead actors on the screen, and I think about how they'll never truly die. I know that's a cliché but it happens to be true. Not just the famous ones who everyone knows, the Clark Gables, the Ava Gardners, but the bit players, the maid carrying the tray, the butler, the cowboys in the bar, the third girl from the left in the nightclub. They're all immortal to me. First we only want to be seen, but once we're seen, that's not enough anymore. After that, we want to be remembered. (187)

There is a new trend among authors to thank every famous people for inspiration, non-existent assistance, and/or some casual reference to the author’s work. Authors do this to pump themselves up. So, on the off chance that this is helpful, I wish to thank the following people: the Prime Minister of India for promoting literacy; Dr APJ Abdul Kalam, who called me up one day and said, “Hey, you’re a good writer”; Kabir Das, who inspired me to write about love; Shahrukh Khan, who is an awesome actor; and last but not least, President of India, who once waved to me in New Delhi as the convoy moved from the streets to the Rashtrapati Bhavan Building, screwing up traffic for half an hour, thereby forcing me to kill time by thinking of a great plot to write this book.

What I like to see is when actors use their celebrity in an interesting way. Some of them have charitable foundations, they do things like try to bring attention to the plight of women and girls in Afghanistan, or they're trying to save the White African Rhino, or they discover a passion for adult literacy, or what have you. All worthy causes, of course, and I knowtheir fame helps to get the word put. But let's be honest here.None of them went into the entertainment industry because they wanted to do good in the world. Speaking for myself, I didn't even think about until I was already successful. Before they were famous, my actor friends were just going to auditions and struggling to be noticed, taking any work they could find, acting for free in friends movies, working in restaurants or as caterers, just trying to get by. They acted because they loved acting, but also, let's be honest here, to be noticed. All they wantedf was to be seen. I've been thinking lately about immortality. What it means to be remembered, what I want to be remembered for, certainquestions concerning memory and fame. I love watching old movies. I watch the faces of long-dead actors on the screen, and I think about how they'll never truly die. I know that's a cliche but it happens to be true. Not just the famous ones who everyone knows, but the bit players, the maid carrying the tray, the butler, the cowboys in the bar, the third girl from the left in the night-club. They're all immortal to me. First we only want to be seen, but once we're seen, that's not enough anymore. Afterthat, we want to be remembered.

For realists, the state is the main actor and sovereignty is its distinguishing trait. The meaning of the sovereign state is inextricably bound up with the use of force. In terms of its internal dimension, to illustrate this relationship between violence and the state we need to look no further than Max Weber’s famous definition of the state as ‘the monopoly of the legitimate use of physical force within a given territory’(M. J. Smith 1986: 23).3 Within this territorial space, sovereignty means that the state has supreme authority to make and enforce laws. This is the basis of the unwritten contract between individuals and the state. According to Hobbes, for example, we trade our liberty in return for a guarantee of security. Once security has been established, civil society can begin. But in the absence of security, there can be no art, no culture, no society. The first move, then, for the realist is to organize power domestically. Only after power has been organized, can community begin.

 I walk away, feeling Brody’s gaze on me. There’s no doubt that as soon as we get back in the car, I’m going to get it—good. Instead, Brody stays quiet while I assemble the paperwork. He may not be speaking, but he’s saying a whole lot in the silence. “Just say it,” I mumble and finally look over. “I’m not saying a word.” He raises his hands. “Clearly, you two know each other, and it ain’t from growing up here. You tell me everything, so there is no way you wouldn’t have told me you know him,” Brody pauses and leans back. “I’m not saying a word about who you may or may not have slept with recently. Even though, it’s pretty obvious.” “You know, you not saying a word took you a long time.” “It’s not like you’ve had a five-year drought since your divorce. Or that you slept with a singer/actor. Nope. I have nothing to say about that. Not a thing.” I groan. “Could you not say anything for real this time?” “Sure thing, boss. I’ll just be over here, watching Hell start to thaw.” This is not going to get any better. I’d almost rather hear the questions. This is Brody Webber. My partner, my friend, and the one person who I have enough dirt on to make his life hell if he repeats this. “Okay, fine. Yes, I slept with Eli Walsh. I was crazy and dumb. I also had about six beers, which is two over my threshold, and I was trying to be in the moment for once. Fucking Nicole and her pep talks.” Brody coughs a laugh and then recovers. “Sorry, go on.” “I swear, you better keep this to yourself. If you tell anyone . . .” I give him my best threatening face. “I mean anyone, I’ll make your life a living nightmare.” He shakes his head and laughs again. “I won’t say a word, but you had a one-night stand with one of the most famous men in the boy band atmosphere. You’re too cool for me, Heather. I don’t think we can be friends. I’m sure you and the band will be happy without me.” I huff and grab the papers. “I’m getting a new partner.” I walk back over to the car, praying this will be painless

Never give up on yourself Everyone may give up on you but never give up on yourself, because if you do, it will also become the end. Believe that anything can be achieved with effort. Most important of all, we must understand that dyslexia is not just a hindrance to learning; it may also be considered a gift. Multiple studies have proven that dyslexic people are highly creative and intuitive. Not to mention the long list of dyslexic people who have succeeded in their chosen fields; Known scientist and the inventor of telephone, Alexander Graham Bell; The inventor of telescope, Galileo Galilei; Painter and polymath, Leonardo da Vinci; Mathematician and writer Lewis Carroll; American journalist, Anderson Cooper; Famous actor, Tom Cruise; Director of our all time favorites Indiana Jones and Jurassic Park, Steven Spielberg; Musician Paul Frappier; Entrepreneur and Apple founder, Steve Jobs; and maybe the person who is reading this book right now. We must always remember, everything can be learned and anyone can learn how to read!

We have a system we follow every time we get asked to create a product logo. Clients like the work we produce and we’re able to charge a good dollar because clients know a product logo is something they will use for a long time. Once we create one product logo, we have our foot in the door and clients often come back as they launch new products.” Ted considered Alex’s conclusion. “Tell me about the system you follow for creating logos.” “It’s nothing too formal, but we always start off by asking the client to describe their vision for their product and how they differentiate themselves from their competitors.” Ted began to make notes. “That sounds like a good first step. Let’s call it Visioning.” Step 1: Visioning “What’s the next step?” asked Ted. “After we establish the client’s goals, we go through an exercise where we ask the client to personify their product. For example, we’ll ask questions like, ‘If your product was a famous actor, who would it be?’ and ‘If your product was a rock star, who would it be?’ One of our favorite questions is a little goofy: ‘If your product was a cookie, what kind of cookie would it be?’ These questions force the client to think about the personality they want to come through in their logo.” “That sounds unique, Alex. Let’s call that step two and give it a name like Personification.” Step 2: Personification “What’s your next step in designing a logo?” “We then go back to the office and use a pencil and paper to freehand sketch

It's hard to form a lasting connection when your permanent address is an eight-inch mailbox in the UPS store. Still,as I inch my way closer, I can't help the way my breath hitches, the way my insides thrum and swirl. And when he turns,flashing me that slow, languorous smile that's about to make him world famous,his eyes meeting mine when he says, "Hey,Daire-Happy Sweet Sixteen," I can't help but think of the millions of girls who would do just about anything to stand in my pointy blue babouches. I return the smile, flick a little wave of my hand, then bury it in the side pocket of the olive-green army jacket I always wear. Pretending not to notice the way his gaze roams over me, straying from my waist-length brown hair peeking out from my scarf, to the tie-dyed tank top that clings under my jacket,to the skinny dark denim jeans,all the way down to the brand-new slippers I wear on my feet. "Nice." He places his foot beside mine, providing me with a view of the his-and-hers version of the very same shoe. Laughing when he adds, "Maybe we can start a trend when we head back to the States.What do you think?" We. There is no we. I know it.He knows it.And it bugs me that he tries to pretend otherwise. The cameras stopped rolling hours ago, and yet here he is,still playing a role. Acting as though our brief, on-location hookup means something more. Acting like we won't really end long before our passports are stamped RETURN. And that's all it takes for those annoyingly soft girly feelings to vanish as quickly as a flame in the rain. Allowing the Daire I know,the Daire I've honed myself to be, to stand in her palce. "Doubtful." I smirk,kicking his shoe with mine.A little harder then necessary, but then again,he deserves it for thinking I'm lame enough to fall for his act. "So,what do you say-food? I'm dying for one of those beef brochettes,maybe even a sausage one too.Oh-and some fries would be good!" I make for the food stalls,but Vane has another idea. His hand reaches for mine,fingers entwining until they're laced nice and tight. "In a minute," he says,pulling me so close my hip bumps against his. "I thought we might do something special-in honor of your birthday and all.What do you think about matching tattoos?" I gape.Surely he's joking. "Yeah,you know,mehndi. Nothing permanent.Still,I thought it could be kinda cool." He arcs his left brow in his trademark Vane Wick wau,and I have to fight not to frown in return. Nothing permanent. That's my theme song-my mission statement,if you will. Still,mehndi's not quite the same as a press-on. It has its own life span. One that will linger long after Vane's studio-financed, private jet lifts him high into the sky and right out of my life. Though I don't mention any of that, instead I just say, "You know the director will kill you if you show up on set tomorrow covered in henna." Vane shrugs. Shrugs in a way I've seen too many times, on too many young actors before him.He's in full-on star-power mode.Think he's indispensable. That he's the only seventeen-year-old guy with a hint of talent,golden skin, wavy blond hair, and piercing blue eyes that can light up a screen and make the girls (and most of their moms) swoon. It's a dangerous way to see yourself-especially when you make your living in Hollywood. It's the kind of thinking that leads straight to multiple rehab stints, trashy reality TV shows, desperate ghostwritten memoirs, and low-budget movies that go straight to DVD.

We cannot provide a definition of those products from which the age takes it name, the feuilletons. They seem to have formed an uncommonly popular section of the daily newspapers, were produced by the millions, and were a major source of mental pabulum for the reader in want of culture. They reported on, or rather "chatted" about, a thousand-and-one items of knowledge. The cleverer writers poked fun at their own work. Many such pieces are so incomprehensible that they can only be viewed as self-persiflage on the part of the authors. In some periods interviews with well-known personalities on current problems were particularly popular. Noted chemists or piano virtuosos would be queried about politics, for example, or popular actors, dancers, gymnasts, aviators, or even poets would be drawn out on the benefits and drawbacks of being a bachelor, or on the presumptive causes of financial crises, and so on. All that mattered in these pieces was to link a well-known name with a subject of current topical interest. It is very hard indeed for us to put ourselves in the place of those people so that we can truly understand them. But the great majority, who seem to have been strikingly fond of reading, must have accepted all these grotesque things with credulous earnestness. If a famous painting changed owners, if a precious manuscript was sold at auction, if an old palace burned down, the readers of many thousands of feature articles at once learned the facts. What is more, on that same day or by the next day at the latest they received an additional dose of anecdotal, historical, psychological, erotic, and other stuff on the catchword of the moment. A torrent of zealous scribbling poured out over every ephemeral incident, and in quality, assortment, and phraseology all this material bore the mark of mass goods rapidly and irresponsibly turned out. Incidentally, there appear to have been certain games which were regular concomitants of the feature article. The readers themselves took the active role in these games, which put to use some of their glut of information fodder. Thousands upon thousands spent their leisure hours sitting over squares and crosses made of letters of the alphabet, filling in the gaps according to certain rules. But let us be wary of seeing only the absurd or insane aspect of this, and let us abstain from ridiculing it. For these people with their childish puzzle games and their cultural feature articles were by no means innocuous children or playful Phaeacians. Rather, they dwelt anxiously among political, economic, and moral ferments and earthquakes, waged a number of frightful wars and civil wars, and their little cultural games were not just charming, meaningless childishness. These games sprang from their deep need to close their eyes and flee from unsolved problems and anxious forebodings of doom into an imaginary world as innocuous as possible. They assiduously learned to drive automobiles, to play difficult card games and lose themselves in crossword puzzles--for they faced death, fear, pain, and hunger almost without defenses, could no longer accept the consolations of the churches, and could obtain no useful advice from Reason. These people who read so many articles and listened to so many lectures did not take the time and trouble to strengthen themselves against fear, to combat the dread of death within themselves; they moved spasmodically on through life and had no belief in a tomorrow.

Everything and Nothing* There was no one inside him; behind his face (which even in the bad paintings of the time resembles no other) and his words (which were multitudinous, and of a fantastical and agitated turn) there was no more than a slight chill, a dream someone had failed to dream. At first he thought that everyone was like him, but the surprise and bewilderment of an acquaintance to whom he began to describe that hollowness showed him his error, and also let him know, forever after, that an individual ought not to differ from its species. He thought at one point that books might hold some remedy for his condition, and so he learned the "little Latin and less Greek" that a contemporary would later mention. Then he reflected that what he was looking for might be found in the performance of an elemental ritual of humanity, and so he allowed himself to be initiated by Anne Hathaway one long evening in June. At twenty-something he went off to London. Instinctively, he had already trained himself to the habit of feigning that he was somebody, so that his "nobodiness" might not be discovered. In London he found the calling he had been predestined to; he became an actor, that person who stands upon a stage and plays at being another person, for an audience of people who play at taking him for that person. The work of a thespian held out a remarkable happiness to him—the first, perhaps, he had ever known; but when the last line was delivered and the last dead man applauded off the stage, the hated taste of unreality would assail him. He would cease being Ferrex or Tamerlane and return to being nobody. Haunted, hounded, he began imagining other heroes, other tragic fables. Thus while his body, in whorehouses and taverns around London, lived its life as body, the soul that lived inside it would be Cassar, who ignores the admonition of the sibyl, and Juliet, who hates the lark, and Macbeth, who speaks on the moor with the witches who are also the Fates, the Three Weird Sisters. No one was as many men as that man—that man whose repertoire, like that of the Egyptian Proteus, was all the appearances of being. From time to time he would leave a confession in one corner or another of the work, certain that it would not be deciphered; Richard says that inside himself, he plays the part of many, and Iago says, with curious words, I am not what I am. The fundamental identity of living, dreaming, and performing inspired him to famous passages. For twenty years he inhabited that guided and directed hallucination, but one morning he was overwhelmed with the surfeit and horror of being so many kings that die by the sword and so many unrequited lovers who come together, separate, and melodiously expire. That very day, he decided to sell his theater. Within a week he had returned to his birthplace, where he recovered the trees and the river of his childhood and did not associate them with those others, fabled with mythological allusion and Latin words, that his muse had celebrated. He had to be somebody; he became a retired businessman who'd made a fortune and had an interest in loans, lawsuits, and petty usury. It was in that role that he dictated the arid last will and testament that we know today, from which he deliberately banished every trace of sentiment or literature. Friends from London would visit his re-treat, and he would once again play the role of poet for them. History adds that before or after he died, he discovered himself standing before God, and said to Him: I , who have been so many men in vain, wish to be one, to be myself. God's voice answered him out of a whirlwind: I, too, am not I; I dreamed the world as you, Shakespeare, dreamed your own work, and among the forms of my dream are you, who like me, are many, yet no one.

Jones, along with the US military attaché in Indonesia, took Subandrio’s advice. He emphasized to Washington that the United States should support the Indonesian military as a more effective, long-term anticommunist strategy. The country of Indonesia couldn’t be simply broken into pieces to slow down the advance of global socialism, so this was a way that the US could work within existing conditions. This strategic shift would begin soon, and would prove very fruitful. But behind the scenes, the CIA boys dreamed up wild schemes. On the softer side, a CIA front called the Congress for Cultural Freedom, which funded literary magazines and fine arts around the world, published and distributed books in Indonesia, such as George Orwell’s Animal Farm and the famous anticommunist collection The God That Failed.33 And the CIA discussed simply murdering Sukarno. The Agency went so far as to identify the “asset” who would kill him, according to Richard M. Bissell, Wisner’s successor as deputy director for plans.34 Instead, the CIA hired pornographic actors, including a very rough Sukarno look-alike, and produced an adult film in a bizarre attempt to destroy his reputation. The Agency boys knew that Sukarno routinely engaged in extramarital affairs. But everyone in Indonesia also knew it. Indonesian elites didn’t shy away from Sukarno’s activities the way the Washington press corps protected philanderers like JFK. Some of Sukarno’s supporters viewed his promiscuity as a sign of his power and masculinity. Others, like Sumiyati and members of the Gerwani Women’s Movement, viewed it as an embarrassing defect. But the CIA thought this was their big chance to expose him. So they got a Hollywood film crew together.35 They wanted to spread the rumor that Sukarno had slept with a beautiful blond flight attendant who worked for the KGB, and was therefore both immoral and compromised. To play the president, the filmmakers (that is, Bing Crosby and his brother Larry) hired a “Hispanic-looking” actor, and put him in heavy makeup to make him look a little more Indonesian. They also wanted him bald, since exposing Sukarno—who always wore a hat—as such might further embarrass him. The idea was to destroy the genuine affection that young Sakono, and Francisca, and millions of other Indonesians, felt for the Founding Father of their country. The thing was never released—not because this was immoral or a bad idea, but because the team couldn’t put together a convincing enough film.36

A few years ago, a couple of young men from my church came to our home for dinner. During the course of the dinner, the conversation turned from religion to various world mythologies and we began to play the game of ‘Name That Character.” To play this game, you pick a category such as famous actors, superheroes or historical characters. In turn, each person describes events in a famous character’s life while everyone else tries to guess who the character is. Strategically you try to describe the deeds of a character in such a way that it might fit any number of characters in that category. After three guesses, if no one knows who your character is, then you win. Choosing the category of Bible Characters, we played a couple of fairly easy rounds with the typical figures, then it was my turn. Now, knowing these well meaning young men had very little religious experience or understanding outside of their own religion, I posed a trick question. I said, “Now my character may seem obvious, but please wait until the end of my description to answer.” I took a long breath for dramatic effect, and began, “My character was the son of the King of Heaven and a mortal woman.” Immediately both young men smiled knowingly, but I raised a finger asking them to wait to give their responses. I continued, “While he was just a baby, a jealous rival attempted to kill him and he was forced into hiding for several years. As he grew older, he developed amazing powers. Among these were the ability to turn water into wine and to control the mental health of other people. He became a great leader and inspired an entire religious movement. Eventually he ascended into heaven and sat with his father as a ruler in heaven.” Certain they knew who I was describing, my two guests were eager to give the winning answer. However, I held them off and continued, “Now I know adding these last parts will seem like overkill, but I simply cannot describe this character without mentioning them. This person’s birthday is celebrated on December 25th and he is worshipped in a spring festival. He defied death, journeyed to the underworld to raise his loved ones from the dead and was resurrected. He was granted immortality by his Father, the king of the gods, and was worshipped as a savior god by entire cultures.” The two young men were practically climbing out of their seats, their faces beaming with the kind of smile only supreme confidence can produce. Deciding to end the charade I said, “I think we all know the answer, but to make it fair, on the count of three just yell out the answer. One. Two. Three.” “Jesus Christ” they both exclaimed in unison – was that your answer as well? Both young men sat back completely satisfied with their answer, confident it was the right one…, but I remained silent. Five seconds ticked away without a response, then ten. The confidence of my two young friends clearly began to drain away. It was about this time that my wife began to shake her head and smile to herself. Finally, one of them asked, “It is Jesus Christ, right? It has to be!” Shaking my head, I said, “Actually, I was describing the Greek god Dionysus.

Barbary Coast was rather a mess when Howard Hawks took over direction of a film initially assigned by Sam Goldwyn to William Wyler. Hawks was famous—and sometimes notorious—for rewriting scripts on the set, inviting his actors to contribute lines. At the same time, he was loath to cede his authority, or to allow actors to take over a production. Meta Carpenter, Hawks’s secretary and sometime script supervisor, vividly recalled how curt—even insulting—the director could be. “Shut up, Walter,” Hawks barked after Brennan apparently offered one too many suggestions. Carpenter never forgot the sight of the deflated actor, who took a day to recover from this rebuff. But Walter was resilient and adaptable. He later told his granddaughter Claudia that he survived the exhausting work of filmmaking by taking catnaps during breaks. He could sleep anywhere on anything—even a coil of rope.

Like other actors who worked for Goldwyn, Brennan was fond of repeating famous Goldwynisms, such as, “in two words: im-possible,” and “include me out.” Then there was the time Goldwyn called studio head Darryl Zanuck. “Darryl,” said Goldwyn, “we’re both in trouble.” “Both,” replied Zanuck. “Why?” “Because you got an actor,” said Goldwyn, “and I want him.” Actors often questioned Brennan about why he worked for Goldwyn so long. “If he makes money on me, that’s his business,” Walter declared. “I get paid for what I do.

So foolish was I; and ignorant…. —Psalm 73:22 (KJV) LORNE GREENE, ACTOR I was a very new, very inexperienced writer, just arrived in California on my first Guideposts assignment. I was checking into my hotel when my editor phoned with another story lead: “I’ve got you an interview with Lorne Greene!” Lorne Greene? I’d never heard of him, but from the excitement in the editor’s voice, I knew it must be someone famous. And rather than expose my ignorance, I said, “Great!” “He’ll meet you on the Bonanza set.” He gave me a TV studio address. We didn’t yet own a TV, but I’d read about the new quiz shows offering big prizes. Bonanza, I decided, must be one of those. I’d interview Mr. Greene about competitiveness! I spent two hours writing out a long list of questions. The next day I stood in the wings of the soundstage, staring at a log cabin, a covered wagon, a backdrop of Ponderosa pines…I crumpled my sheet of questions. We sat at a table while I fumbled for a question. Beneath his broad-brimmed hat, smiling brown eyes met mine. He must have perceived immediately that a novice writer had asked a busy man for his time and then arrived unprepared. He took pity on my floundering efforts. “I was a radio interviewer in Canada before I got into acting,” he said. “I think I have a story you’ll like.” No thanks to me, I flew home with a wonderful piece. And a new petition for my daily prayers: Father, grant me the grace to say, “I don’t know.” —Elizabeth Sherrill Digging Deeper: Prv 22:4; Jas 4:6

In the famous Darley and Batson Good Samaritan study in the early 1970s, a large number of seminary students were subjected to a time constraint and told to walk past a person who was writhing in pain and needed help. The victim was actually a paid actor who had been strategically positioned to participate in the experiment. They found that students’ willingness to stop and help the victim strongly correlated to the perceived urgency of the time constraint—low hurry, 63 percent stopped to help; medium hurry, 45 percent stopped; and in the high-hurry scenario only 10 percent offered any form of assistance at all. Only an average of 40 percent of seminary students stopped to help.

Our media also lavish mega attention on our idols, devoting countless hours of coverage to actors and sports figures, much of the coverage about how they get into trouble. Some networks admit to trying to include some daily snippet of “news” about Britney Spears, or Lindsay Lohan, or some other troubled famous young actor, co-enabled by the coverage and public attention, into their behavior. Some of the nation’s bestselling magazines and weekly newspapers exclusively report on the varied activities of public figures, almost all in the entertainment industry. People Magazine recently paid a movie star $4.1 million dollars. To make a movie? No, $4.1 million dollars was paid for the right to publish pictures of her new baby. America’s media covered the unfortunate death of singer Michael Jackson non-stop for days on end. We are “mad upon our idols.

Riddle: Who am I? The most famous thing in the film industry is neither an actor nor an actress. It's not even a cute You Tube kitten. It's totally anonymous. Everybody asks where it is. Nobody can locate it. It appears in probably more than 5,000 movies! Who am I? I'm 'The package'.

There was just something about her that I found intriguing, even compelling. It was not that she was a famous actress—I’d had no idea who she was, had to be told that she was, in fact, a star. Celebrity had never interested me before, and I was quite sure it didn’t now. And I was certainly far too set in my wicked ways to be interested in any kind of dalliance that was merely sexual. When Dexter has a fling, his partner’s afterglow lasts forever. And yet there was Jackie, crowding the screen in my private internal television, tossing her mane of perfect hair and smiling just for me with a gleam of intelligent amusement in her eyes, and for some maddening reason I liked it and I wanted to— Wanted to what? Touch her, kiss her, whisper sweet nothings in her perfect shell-like ear? It was absurd, a cartoon picture, Dexter in Lust. Such things did not happen to our Dreadful Dark Scout. I was beyond the reach of mere mortal desire. I did not feel it, couldn’t feel it; I never had, didn’t want to—and whatever the thought of Jackie Forrest might be doing to me, I never would. This was no more than a Method-actor moment, a fleeting identification with the killer, a confusion of roles, almost certainly brought on because the process of digesting pork had taken all the blood away from my brain.

Now the dressing-room full of RSC hierarchy. Suddenly Trevor Nunn pushes his way through and 'Trevs' me. I've heard a lot about this 'Trevving', but never had it done to me. From what I'd heard, a 'Trev' is an arm round your shoulder and a sideways squeeze. But this 'Trev' is a full frontal hug, so complete and so intimate that the dressing-room instantly clears, as if by suction. I'm left alone in the arms of this famous man wondering whether it's polite to let go.

It actually amazes me that there are people like that, who talk and talk and talk but have never been punched in the face; who just yell at each other and pray that a bouncer comes. I find that legitimately fascinating.

49.​TRUE OR FALSE: 2006’S CASINO ROYALE WAS THE FIRST BOND MOVIE THAT COULD BE WATCHED IN CHINA. True. It was the first film in the James Bond series that the Chinese censor board approved. 50.​TRUE OR FALSE: THE FIRST INTERRACIAL KISS IN TELEVISION HISTORY HAPPENED ON STAR TREK. True. Although the network originally didn’t want to air it, William Shatner reportedly sabotaged all of the other shoots, forcing the network to run the kiss. 51.​TRUE OR FALSE: THE FIRST TELEVISION COMMERCIAL EVER WAS A CAR COMMERCIAL. False. It was actually a commercial for watches, and it aired in 1941. 52.​TRUE OR FALSE: ACTOR JIM CAVIEZEL WAS STRUCK BY LIGHTNING WHILE PORTRAYING JESUS IN THE PASSION OF THE CHRIST. True. Caviezel suffered a large number of calamities during the filming, but this one seemed like a bit of an omen. 53.​TRUE OR FALSE: BRYAN ADAMS’ FAMOUS SONG “SUMMER OF ‘69” IS NAMED AFTER THE SEX POSITION, NOT THE YEAR. True. In fact, Adams was just 9 years old during the summer of 1969. 54.​TRUE OR FALSE: THE ROLLING STONES PERFORMED IN BACK TO THE FUTURE 3. False. But ZZ Top did! 55.​TRUE OR FALSE: THE WORD “FUCK” WAS ONCE SAID OVER 1,000 TIMES IN ONE MOVIE. False. But Swearnet: The Movie came close with the word appearing 935 times—a record amount! 56.​TRUE OR FALSE: BATTLEFIELD EARTH WAS WRITTEN BY THE FOUNDER OF SCIENTOLOGY. True. L. Ron Hubbard was a well-known science fiction writer in addition to being the founder of Scientology.

Hard work is an overrated concept, a 30-second viral video makes you more famous than 10 years of hard work in theater. Historically, Who has been the most hardworking? Farmers right. Who commits the maximum number of suicides due to poverty? Farmers.

My evening was a perfect demonstration of how hard it is for one side to really understand the other. I think Hollywood feels more comfortable welcoming directors who are convicted pedophiles, famous actresses who are also thieves, boxers who are convicted rapists, directors who push cocaine, rappers who sell heroin, singers who solicit prostitutes, and actors who beat up their woman than a Republican in their midst. In fact, the people who fit into those categories still enjoy the professional adoration of their peers in Hollywood, even amidst the suspicion and guilt. It's like the only that can really ruin your reputation as a celebrity is to come out as a Republican.

Blockchains are possible because of consensus protocols – sets of rules that determine what kinds of blocks can become part of the chain and thus the “truth.” These consensus protocols are designed to resist malicious tampering up to a certain security bound. The blockchains we focus on currently use the proof of work (PoW) consensus protocol, which relies on a computationally and energy intensive lottery to determine which block to add. The participants agree that the longest chain of blocks is the truth. If attackers want to make a longer chain that contains malicious transactions, they must outpace all the computational work of the entire rest of the network. In theory, they would need most of the network power (“hash rate”) to accomplish this – hence, the famous 51 percent attack being the boundary of PoW security. Luckily, it is extraordinarily difficult for any actor, even an entire country, to amass this much network power on the most widely used blockchains, such as Bitcoin or Ethereum.

Harold Ramis, the actor and director most famous to people of my generation for his role as Egon in the movie Ghostbusters, once laid out his rule for success: “Find the most talented person in the room, and if it’s not you, go stand next to him. Hang out with him. Try to be helpful.” Ramis was lucky: The most talented person in the room was his friend Bill Murray. If you ever find that you’re the most talented person in the room, you need to find another room.

you. That “I deserve” way of thinking is hard to reconcile in this business. A better question is this: Do you want to be an actor or do you want to be a famous actor? If you want to be famous, as the great Alan Arkin said, you will have a hard time. If you want to be an actor, you will find a way.

We’re eight around the table. After we finish the soup the others stop talking, and she and I carry on. We’re discussing a film, which I liked, so I defend it. But she insists that the actor, a famous leading man, gave a terrible performance. Though I’m not drunk I can’t help it, I say: “Do you realize you have no idea what the fuck you’re talking about?” She doesn’t reply, and after that she erases me out of her evening. The others exchange embarrassed glances. I’ve never exploded like that at a small dinner among friends. The husband looks at me, gelid.

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A long time ago I was in the ancient city of Prague and at the same time Joseph Alsop, the justly famous critic of places and events, was there. He talked to informed people, officials, ambassadors; he read reports, even the fine print and figures, while I in my slipshod manner roved about with actors, gypsies, vagabonds. Joe and I flew home to America on the same plane, and on the way he told me about Prague, and his Prague had no relation to the city I had seen and heard. It just wasn’t the same place, and yet each of us was honest, neither one a liar, both pretty good observers by any standard, and we brought home two cities, two truths.

You don't always keep on the top", she began again. "My life, my career has been like a roller coaster. I've either been an enormous success or just a down-and-out failure, which is silly because everybody always asks me, 'How does it feel to make a comeback?' And I don't know where I've been! I haven't been away." She paused, and Vangkilde waited. "It's lonely and cold on the top...lonely and cold," she said very quietly.

Bikram malati famous actor Indian Nepalese cinema YouTube Bikram malati show on release film krodh (2019)

Celebrities?” “They’re the famous people of this world. They’re mostly actors, singers, musicians. ‘Stars,’ we call them. Like... instead of the stars we look up to in the sky, they’re the people we look up to.

The magazines had articles about the latest celebrity scandals. A famous singer’s husband had an affair with someone he works with, and, as a result, they both decided to take a break from work. The husband was a voice actor and he lost most of his jobs. His wife was a famous singer.

I’ve heard some horror stories from students who spent precious time and money in a class that seemed to be more about the teacher than about the students. Be wary of classes that appear to be cultish or designed to flatter the ego of the instructor. Also look out for frequent and lengthy anecdotes about famous people. The focus of any class should always be on the work of the artists who are present, not on the work of icons who are not.

I’ve read a dozen different versions of Stanislavski's famous Three Questions, i.e. the queries an actor must ask him- or herself before playing any scene. Here's my version: Who am I? Why am I here? What do I want? The second two are pretty easy. It's the first that's the killer.

Brenda looked me up and down with a combination of contempt and curiosity. I could see she was too tired to fight much. “I certainly don’t need a doctor. This is insulting.” A desk clerk who was handsome enough to be an actor or model emerged from behind the mahogany reception to offer assistance. Brenda waved him off.

Never go to bed with a famous actor after a jelly jar of moonshine just before you’re moving to Korea.

I thought of rock stars and famous actors swarmed by fans as they scribbled their autographs before being whisked off by chauffeurs to the next destination. People like that never had a minute’s peace, and no normal life.

When Sasha was ten she had such an intense crush on Harrison Ford that sometimes she would lie in bed and cry with deep sorrow that they would never be together. She knew it was weird. He was a grown man and a famous actor and she was a child with a dawning awareness that little hairs were growing up and down her legs, and it all compounded into a tragedy so devastating that she could barely stand to watch him in movies when anyone else was in the room. Her brothers obviously noticed her mooning after him and taunted her mercilessly. Later in life, when she saw in some celebrity magazine at the nail salon that Harrison got an earring, she felt embarrassed all over again that she had been obsessed with someone so old.

To borrow Otto von Bismarck’s famous phrase, all great powers are traveling on the “stream of Time,” which they can neither control nor direct, but which they can navigate with skill and experience. Espionage is an acute example of the interaction between the flow of history and experience—human actors can help steer the stream of Time, when it is acted upon.

People may ask, “How can that celebrity be part of a Satanic cult? They are too rich, and famous. Too handsome, or too beautiful. Too nice. Too powerful.” But that is the wrong question. The question should be, how did that person obtain that level of celebrity? And once people realize that person is literally owned, and controlled by others, or by other entities, then their celebrity may remain for a time, but their fake power will dissipate almost immediately.

Mom knew everyone’s name. She’d whisper it to me before they got to the bottom of the steps. Foreign princes and dignitaries, real estate moguls and politicians, actors. There was even a famous vlogger here, a big donor for the ALS clinical trials Royaume was doing.

Lesser is back in New York. He’d been in Paris for two months working as a gofer for the film director Maurice Barraque. To Lesser and his fellow Francophile cineastes, every one of Barraque’s films is a revelation. Beginning in the late sixties Barraque had directed and starred in his own films, all made for nothing, in circumstances that were as haphazard as they were abject. His best works were bolts of genius quickly written, hastily shot and never revised. He was a beautiful drug addict, a poet and painter of light and sound. Onscreen, he was as luminous a presence as the great beauties of European cinema who played opposite him. They worked for nothing, they expected nothing - half of his films were never finished. It was a career famous for disappointment and disaster: Cinema is haunted. We do not watch it, it watches us. But suddenly, late in life he’d had an improbable, unexpected renaissance and began churning out, year after year, small-scale diary-like films. He became almost respectable. All he required was a 16-mm camera, a handful of actors, a few rooms for them to move about in. And, of course, the streets of Paris.

Rhys said, “This is what Velaris is known for: the artists’ quarter. You’ll find a hundred galleries, supply stores, potters’ compounds, sculpture gardens, and anything in between. They call it the Rainbow of Velaris. The performing artists—the musicians, the dancers, the actors—dwell on that hill right across the Sidra. You see the bit of gold glinting near the top? That’s one of the main theaters. There are five notable ones in the city, but that’s the most famous. And then there are the smaller theaters, and the amphitheater on the sea cliffs … ” He trailed off as he noticed my gaze drifting back to the assortment of bright buildings ahead.

It is time to accept that most of our heroes were not, are not, heroes. They were just good actors selected by the cult, due to bloodlines, or secret society membership.

Crow had few peers in the years before…before his transition. But of that latter—change—sufficient has already been recorded elsewhere. A one-time writer of macabre short stories, he occasionally chronicled his own adventures; at other times such work was undertaken by his lifelong friend Henri-Laurent de Marigny (son of Etienne, the world-famous New Orleans mystic), while others of his adventures were reported by mere acquaintances. All of the Titus Crow adventures, in short story or novelette form, are here collected in one volume. They are presented chronologically, as best as may be determined, and along with The Burrowers Beneath and the “post-transition” novels, they complete the Crow canon. In addition to the tales in which Titus Crow is a primary actor, there are three other closely related stories: The Mirror of Nitocris, the one and only personal chronicle of Crow’s apprentice and fellow traveller, de Marigny; Inception, in which Crow plays only a cameo role; and lastly The Black Recalled, in which nothing of Crow appears at all! …Or does it? Only one thing remains to be said. In the light of Titus Crow’s fascination and lifelong affair with matters of dark concern, much of this volume is naturally taken up with narratives of relentless horror. Therefore—it is not a book for the squeamish. You have been warned!

Fire and sword laid waste the Earth. Darkness stalked the land. From the ashes of defeat and the smoke of despair, the people of Earth, searching for a future, plundered the past. It was the time of the Great Concoction, when the world was remade. In the thirty-first century of Our Lord, the Europe of the past rose again in the shape of Europa. In Europa, history was reborn. The geologic upheavals of Europa's formation resulted in an acute psychic backlash, manifested in periodic shifts in reality and embodied hallucinations. Spatial dimensions became mercurial in their behaviour. Entire counties could be crammed into a field. These anomalies were exacerbated by advances in psionics which produced dream worlds that were as close to the notion of a real supernatural as makes no odds. Spectres, poltergeists, fallen angels, unfallen angels, trolls, hobgoblins, vampires, werewolves and suchlike entities sprang into pseudo-being. It was upon this ontological quicksand that the Dominions of Europa were founded, recreations of ancient European countries, each containing several time periods. Within each of these historical eras there existed a small percentage of 'Reprises'; clones of famous figures from history artificially encoded with the appropriate personality matrix. These Reprises were prone to severe identity confusion. Yet more acute was the confusion of the fictional Reprises, clones of actors who became identified with particular roles: in these cases, it was not the actor's personality that was encoded into clone-body, but the role he played. By the thirty-third century, Europa was plunging into chaos. Reality unravelled. It was a time of heroes, whimsical worlds, blood and thunder, and general Byronic excess. Dark powers arose. Fearful villagers locked their shutters at night. Fire and sword laid waste the Earth. Darkness stalked... Excerpt from The Tenebrous Testaments of the House of Rue. chapter XIV. volume CLXVII [From Count (Baron) Dracula and Baron (Count) Frankenstein]

The most famous individual Gandhi met in London was Charlie Chaplin. Remarkably, Gandhi had never heard of the actor. Chaplin knew something about Gandhi’s fetish for the spinning wheel. He was in sympathy with India’s demand for freedom, but ‘somewhat confused’ about Gandhi’s own attitude towards machinery. The Indian answered that he was not opposed to machinery per se, but only to machines that rendered people jobless. He added that ‘in cloth and food every nation should be self-contained. We were [once] self-contained and want to be that again.

On one of those nights in January 2014, we sat next to each other in Maria Vostra, happy and content, smoking nice greens, with one of my favorite movies playing on the large flat-screen TVs: Once Upon a Time in America. I took a picture of James Woods and Robert De Niro on the TV screen in Maria Vostra's cozy corner, which I loved to share with Martina. They were both wearing hats and suits, standing next to each other. Robert de Niro looked a bit like me and his character, Noodles, (who was a goy kid in the beginning of the movie, growing up with Jewish kids) on the picture, was as naive as I was. I just realized that James Woods—who plays an evil Jewish guy in the movie, acting like Noodles' friend all along, yet taking his money, his woman, taking away his life, and trying to kill him at one point—until the point that Noodles has to escape to save his life and his beloved ones—looks almost exactly like Adam would look like if he was a bit older. “All the world's a stage, and all the men and women merely players. They have their exits and their entrances; And one man in his time plays many parts.” – William Shakespeare That sounds like an ancient spell or rather directions, instructions to me, the director instructing his actors, being one of the actors himself as well, an ancient spell, that William Shakespeare must have read it from a secret book or must have heard it somewhere. Casting characters for certain roles to act like this or like that as if they were the director’s custom made monsters. The extensions of his own will, desires and actions. The Reconquista was a centuries-long series of battles by Christian states to expel the Muslims (Moors), who had ruled most of the Iberian Peninsula since the 8th century. The Reconquista ended on January 2, 1492. The same year Columbus, whose statue stands atop a Corinthian custom-made column down the Port at the bottom of the Rambla, pointing with his finger toward the West, had discovered America on October 12, 1492. William Shakespeare was born in April 1564. He had access to knowledge that had been unavailable to white people for thousands of years. He must have formed a close relationship with someone of royal lineage, or used trick, who then permitted him to enter the secret library of the Anglican Church. “A character has to be ignorant of the future, unsure about the past, and not at all sure what he/she’s supposed to be doing.” – Anthony Burgess Martina proudly shared with me her admiration for the Argentine author Julio Cortazar, who was renowned across South America. She quoted one of his famous lines, saying: “Vida es como una cebolla, hay que pelarla llorando,” which translates to “Life is like an onion, you have to peel it crying.” Martina shared with me her observation that the sky in Europe felt lower compared to America. She mentioned that the clouds appeared larger in America, giving a sense of a higher and more expansive sky, while in Europe, it felt like the sky had a lower and more limiting ceiling. “The skies are much higher in Argentina, Tomas, in all America. Here in Europe the sky is so low. In Argentina there are huge clouds and the sky is huge, Tomas.” – Martina Blaterare “It was curious to think that the sky was the same for everybody, in Eurasia or Eastasia as well as here. And the people under the sky were also very much the same--everywhere, all over the world, hundreds or thousands of millions of people just like this, people ignorant of one another’s existence, held apart by walls of hatred and lies, and yet almost exactly the same--people who had never learned to think but were storing up in their hearts and bellies and muscles the power that would one day overturn the world.” – George Orwell, 1984

And Tom Cruise talks with us about how he went from homeless vampire to famous Hollywood actor." Darcy stretched her smile even further. "We'll be right back.

listen to what funny man and actor Jim Carrey had to say about fame and fortune: “I think everybody should get rich and famous and do everything they ever dreamed of so they can see that it’s not the answer.