Ensemble Stars Quotes

Aimer, ce n'est pas se regarder l'un l'autre, c'est regarder ensemble dans la même direction.

They did not arrive alone but were attended by six cohorts, an assortment of dark-suited men so stern and judgmental of mien as to resemble the male ensemble from a musical version of The Crucible.

Rien, jamais, en effet, ne remplacera le compagnon perdu. On ne se crée point de vieux camarades. Rien ne vaut le trésor de tant de souvenirs communs, de tant de mauvaises heures vécues ensemble, de tant de brouilles, de réconciliations, de mouvements du coeur. On ne reconstruit pas ces amitiés-là. Il est vain, si l'on plante un chêne, d'espérer s'abriter bientôt sous son feuillage.

Saints, what is that noise?” Nina had whispered. “I think it’s ‘Be Still, Little Bumble Bee,” said Wylan from behind the mask and horns of his Gray Imp ensemble. “But it’s hard to tell.” When they’d entered the music room, the silky-haired terrier at her feet had the sense to growl, but poor, pretty, pregnant Alys had just looked up from her sheet music and said, “Is this a play?” “Yes, love,” said Jesper gently, “and you’re the star.

La grandeur d'un métier est peut-être, avant tout, d'unir des hommes : il n'est qu'un luxe véritable, et c'est celui des relations humaines. En travaillant pour les seuls biens matériels, nous bâtissons nous-mêmes notre prison. Nous nous enfermons solitaires, avec notre monnaie de cendre qui ne procure rien qui vaille de vivre. Si je cherche dans mes souvenirs ceux qui m'ont laissé un goût durable, si je fais le bilan des heures qui ont compté, à coup sûr je retrouve celles que nulle fortune ne m'eût procurées. On n'achète pas l'amitié d'un Mermoz, d'un compagnon que les épreuves vécues ensemble ont lié à nous pour toujours. (p. 35-36)

Si je cherche dans mes souvenirs ceux qui m'ont laissé un goût durable, si je fais le bilan des heures qui ont compté, à coup sûr je retrouve celles que nulle fortune ne m'eût procurées. On n'achète pas l'amitié d'un Mermoz, d'un compagnon que les épreuves vécues ensemble ont lié à nous pour toujours. Cette nuit de vol et ses cent mille étoiles, cette sérénité, cette souveraineté de quelques heures, l'argent ne les achète pas. Cet aspect neuf du monde après l'étape difficile, ces arbres, ces fleurs, ces femmes, ces sourires fraîchement colorés par la vie qui vient de nous être rendue à l'aube, ce concert de petites choses qui nous récompensent, l'argent ne les achète pas.

FRENCH CINEMA IS SO RICH in opportunities for actresses of talent that a career needn’t build quickly, with a few star-making turns. It can build slowly, over the course of years. An actress can make the most of ensemble and supporting parts, grow in popularity, grow in ability and ultimately find herself, some ten years down the line, in possession of a major career.

Tu n'y es pour rien, Hazel Grace.. Nous ne sommes que des effets secondaires, n'est-ce pas? Des berniques sur la porte-conteneurs de la conscience, ai-je dit, citant UIA. OK, a-t-il dit. Il faut que je dorme. Il est presque 1h. OK, ai-je acquiescé. OK, a-t-il renchéri. OK, ai-je répété en riant. Puis je n'ai plus rien entendu, mais il n'avait pas raccroché. J'avais l'impression qu'il était dans la chambre, avec moi, mais c'était encore mieux, comme si je n'étais pas dans la chambre et lui pas dans la sienne, mais qu'on était tous les deux ensemble dans un troisième espace, exigu et invisible, auquel on ne pouvait accéder que par le téléphone. OK, a-t-il dit après une éternité. Et si OK  était notre « toujours? OK, ai-je répondu. C'est lui qui a fini par raccrocher.

She sometimes takes her little brother for a walk round this way," explained Bingo. "I thought we would meet her and bow, and you could see her, you know, and then we would walk on." "Of course," I said, "that's enough excitement for anyone, and undoubtedly a corking reward for tramping three miles out of one's way over ploughed fields with tight boots, but don't we do anything else? Don't we tack on to the girl and buzz along with her?" "Good Lord!" said Bingo, honestly amazed. "You don't suppose I've got nerve enough for that, do you? I just look at her from afar off and all that sort of thing. Quick! Here she comes! No, I'm wrong!" It was like that song of Harry Lauder's where he's waiting for the girl and says, "This is her-r-r. No, it's a rabbut." Young Bingo made me stand there in the teeth of a nor'-east half-gale for ten minutes, keeping me on my toes with a series of false alarms, and I was just thinking of suggesting that we should lay off and give the rest of the proceedings a miss, when round the corner there came a fox-terrier, and Bingo quivered like an aspen. Then there hove in sight a small boy, and he shook like a jelly. Finally, like a star whose entrance has been worked up by the personnel of the ensemble, a girl appeared, and his emotion was painful to witness. His face got so red that, what with his white collar and the fact that the wind had turned his nose blue, he looked more like a French flag than anything else. He sagged from the waist upwards, as if he had been filleted. He was just raising his fingers limply to his cap when he suddenly saw that the girl wasn't alone. A chappie in clerical costume was also among those present, and the sight of him didn't seem to do Bingo a bit of good. His face got redder and his nose bluer, and it wasn't till they had nearly passed that he managed to get hold of his cap. The girl bowed, the curate said, "Ah, Little. Rough weather," the dog barked, and then they toddled on and the entertainment was over.

Based on a 1934 play by George S. Kaufman and Moss Hart, Merrily We Roll Along tells the story of three friends—Franklin Shepard, a composer; Charley Kringas, a playwright and lyricist; and Mary Flynn, a novelist—who meet in the enthusiasm of youth, when everything seems possible. The play traces what happens to their dreams and goals as time passes and they are faced with life’s surprises, travails, successes, and disappointments. The trick here is that the play moves chronologically backward. It begins on an evening in 1976 at a party for the opening of a movie Frank has produced. The movie is apparently a hit, but Frank’s personal life is a mess. His second wife, Gussie, formerly a Broadway star, was supposed to have starred in the movie but was deemed too old; she resents being in the shadows and suspects, correctly, that Frank is having an affair with the young actress who took over her part. Frank is estranged from his son from his first marriage. He is also estranged from Charley, his former writing partner—so estranged, in fact, that the very mention of his name brings the party to an uncomfortable standstill. Mary, unable to re-create the success of her one and only novel and suffering from a longtime unreciprocated love for Frank, has become a critic and a drunk; the disturbance she causes at the party results in a permanent break with Frank. The opening scene reaches its climax when Gussie throws iodine in the eyes of Frank’s mistress. The ensemble, commenting on the action much like the Greek chorus in Allegro, reprises the title song, asking, “How did you get to be here? / What was the moment?” (F 387). The play then moves backward in time as it looks for the turning points, the places where multiple possibilities morphed into narrative necessity.

Beth changed her ensemble five times that morning, switching out her shoes, her necklaces, her earrings. I understood. Had I owned more than one suit, I would have done the same thing. As it was, I just sat in a battered old chair in our bedroom and watched her. She was beautiful to me. I could see that she had shaved her legs, supple and taut above the easy grip of her heels. She mussed her hair and pursed her lips at the mirror. “What do you think?” she said finally, turning to me. I stood and went to her, understanding right then that we were already growing older, that we would grow old together. “I think you’re beautiful,” I said. I kissed her. “Hey—watch the lipstick,” she said, swatting me away playfully before pulling me in close again. She set her chin on my shoulder and we slow danced that way, there in our bedroom, the worn carpeting beneath our best scuffed shoes. “I love you,” she said, “even if you’re not a rock star.” “I love you,” I said, “even though you’re not a movie star.” We kissed again and held hands as we walked downstairs, our garments good enough. The

When I got there, David was buried. He was lost in the ensemble cast. He was just another player. My job was to prune the staff, prune the on-camera people so that David would shine. He was the star, and when I got there, he wasn’t. He was feeding and servicing a cast of characters. It was more like SCTV than it was The David Letterman Show.

You've done your best, Izumi-san. Good boy, great job... It must've been so tough, and so painful. But you can take it easy now. This time, I'll protect you just as much as you've protected me. I might still have a bunch of things to work on, but thanks to your tough training...I've gotten a little stronger. So instead of embracing me, embrace the little kid who's even now still crying within you. That child who, under all those beautiful folds of clothing, is still scared and shaking. Give him love. You act like you're a blade that only hurts the people around you, but in fact... You're someone who can protect others with your whole heart -- someone who can truly love. After all, I know that better than anyone.

Never meant to be more than a B picture entertainment produced on the Universal International backlot and at the Iverson Ranch (a five-hundred-acre family property often used for location shoots), it is one of those unexpected surprises that make you want to know about everyone who had a part in creating such a diverting picture. The film has no single star, but rather an ensemble of superb actors: Vincent Price (Tracy Holland), hamming up it as a ham actor, and Eve Arden (Lily Martin) playing an aging and acerbic stage star.

February 26: Marilyn begins work on Monkey Business with director Howard Hawks. As usual, she is late to the set, but Ginger Rogers, in a starring role, said Marilyn always knew her lines. Billy Travilla, her dress designer, admitted she hated the beige jersey wool dress with pleated full skirt that is her ensemble in the picture’s opening scenes. She writes a check to the Carlton Hotel for $150.

In the early '90s a beautiful young Russian soprano who loved music was studying opera at the St. Petersburg Conservatory. She told us how despite her single-minded focus on developing her voice, her teachers thought that perhaps, at best, one day she could sing in a chorus somewhere. But the soprano wasn't going to let her teachers' low opinion of her stop her from achieving her goal. While becoming a part-time janitor may not seem like a brilliant career move for an aspiring opera star, she took a job mopping floors at St. Petersburg's Kirov Opera, the greatest opera company in Russia. Still working hard in the conservatory, she earned the chance to audition for the Kirov and was accepted into the ensemble. During rehearsals, when the lead singer became ill, the stage director asked the soprano if she knew the part. "Of course I knew it", she told us. "I knew all the parts. I was ready." She had worked hard; she had worked smart by putting herself in the right place at the right time. And she performed well. Her once-skeptical teachers never could have imagined the career that the soprano, Anna Netrebko, would go on to have, becoming an operatic superstar and the reigning diva of the twenty-first century.

With a deep breath, I extend my arms, beginning with an adagio, syncing with the melody of the flowers. When I find comfort in the rhythm, I dip into a cambré, sweeping my body into a whirlpool as I rise. I hesitate as plumes of color emerge from the ground, encompassing me in a veil of fuchsia, amber, and gold. The colors gather me, and I move with them like the language of fire--- hot, quick steps, languid and elegant. The forest begins to change, and my eyes widen. When I began my bourrée steps, foxgloves sprout like lace-crafted trumpets, marrying the sound of blooming hibiscuses, rattling like tambourines. With every step I take, more flowers grow, kissing the earth with their velvet lips. I almost swear I hear the ground sing back, harmonizing with the forest's song. I guess the angel was right. With a glimmer of confidence, I burst into a grand jeté, and golden hummingbirds mimic me, tracing my every move as I dive into a piqué manège. Damien's eyes glisten, and it fills my spirit.With every chassé, the forest unravels in color. Fireflies come to life and kiss my cheeks, circling my body in a lattice as I pirouette. New colors rise from the ground--- topaz, lazuli, and chartreuse--- dancing with me like my own ensemble, I transition into my fouettés, leaning into an arabesque, as if to touch the rising moon. I lose all sense of self, leaping into the air. My body transcends into a wind-like creature, moving wildly with mild grace. New life sprouts, as if this world belongs to me and not the angels. Tiny stars emerge in a trail behind my feet, and I climb them like stairs. Damien smiles. I reach for his hand and lift him onto the steps. His hands wrap around my waist, and together we spin higher into the sky. My grip around his shoulders tenses as we rise closer and closer to the Heavens. I can feel Luna radiating over me. I'm in command. Here, I'm free. I wish I could hold on to this moment forever.

I'm moved by letters and words in the way that you may be moved by the colors of a sunset or a field of wildflowers or the inside of a slaughterhouse." Ms. Cordell, almost as obligingly and patiently as Mr. Roland had, explained that sometimes a letter would dominate a word, causing the other letters around them to cower and become dim. The u in "instructions," for example. Because of its location right in the middle of the word, it's neon-pink glow was the star of the show. The letters in "techniques," however, were more of an ensemble production. The new-grass green of the t gave way to the lemon-pie filling e followed by c, with its black Labrador sheen. Ms. Cordell then abruptly stopped her description of the cooperative spirit of "techniques." She must have seen the look in the interviewer's eyes, which I could clearly see too, because the camera was documenting it. I saw there a mixture of fascination and disbelief and pity. I know it was the pity that made Ms. Cordell silent. Forget about the interviewer. Better yet, pity her. She has only five senses. Go on, Ms. Cordell, tell me what the word techniques does to you. It makes me taste cheesecake, graham cracker crust and everything, I wanted to tell her.

As the sun lowered, a receding light chased it, fighting a losing battle with skies above becoming an inky canvas. Reds joined the celebration brushed with oranges, caressed with yellows and flicked by casual violets. Slowly, my surroundings darkened and I waved my hand, pretending to orchestrate the playing of the stars. They obliged willingly, each one joining in the symphony, visual musical instruments sharing the ensemble.

In 1515 a mechanical lion designed by Leonardo was the star attraction in a pageant for the young French king Francis I. Another Leonardo biographer, Gian Paolo Lomazzo, tells how the lion “moved from its place in the hall and when it came to a halt its breast opened, and was full of lilies and other flowers.”*4 The lion was a symbol of Florence, the lilies a symbol of the French monarchy, so the ensemble represented the new alliance between the two powers.

Frank’s notion of success is transformed from creating work of artistic integrity that contains the potential to change the world (act 2, scene 5) to the kind of worldly success that is marked by money, possessions, and status (act 1, scene 1), a transformation that occurs gradually through his relationship with Gussie. Gussie represents the worldly idea of success, and she positions herself with men who she thinks can help her get it. She moves from being Joe’s secretary to being his wife so as to have a producer to cast her in shows. After five flops, she desperately needs a hit that will establish her as a star, and so she initiates her seduction of Frank. This begins a triangular tug-of-war with Frank in the middle: Mary (not the oblivious Beth) trying to pull Frank back from Gussie’s sexual seduction; and Charley trying to pull Frank back from her idea of worldly success. This tug-of-war plays out through many decisions, some big, some small, not all of them Frank’s: Frank and Charley’s decision to do Musical Husbands as a vehicle for Gussie and then to do one more fluff musical, Sweet Sorrow, for Joe; Beth’s decision to leave Frank with Gussie on the opening night of Musical Husbands; Charley and Mary’s miscalculated decision to encourage Frank to go on the cruise; Gussie’s decision to leave Joe; Frank’s decision, seemingly a small one, not to join Charley and Mary at the Downtown Club on the night he returns from the cruise. Where exactly Frank could have or should have said no so as to have changed his life story is not clear. Rather, the cumulative effect of his and others’ decisions is described by the ensemble in the title song: How does it start to go? Does it slip away slow, So you never even notice it’s happening? (F 383)