Quotes of All Topics . Occasions . Authors
Part of doing good work is caring deeply about it, believing in what you're doing, and getting incredibly attached to the characters that you're playing, the stories you're telling, and the people you're working with.
Since I was inexperienced in films, I thought it would be very intimidating to work with experienced people like Sanjay Suri and Samir Soni. But I must say they are very encouraging. They clapped when I gave a good shot.
You have to have brilliant people to work opposite, and then it does become like a real tennis match and this is our sport. With somebody like Mark Lewis Jones, who is extraordinary anyway, you just know it's going to be a good match.
I bet the people who are in the auto industry right now have more than 10,000 good ideas about what might work and what we need to do is not come up with more good ideas. We need to go and test as many of those good ideas as possible.
There isn't much improvisation in film - there's virtually none. The people that theoretically could be good at this in a theater situation don't necessarily do this in a film in a way that will work, because it's much broader on a stage.
I don't want to say names, but there are certain companies I won't work with because of previous people they've worked with. I don't want to be put in the same category as another athlete that I don't necessarily think is a good role model.
The reason people buy Kind bars is that they're delicious and they're healthful. If the product doesn't taste good, isn't the right price, or doesn't fit their lifestyle choice, even if it's made by Mother Teresa, it's not going to work out.
You work hard, you sacrifice for everything you do, and in one second, someone can tarnish your name - someone can bad-mouth you, and someone can say things. People let all of the good things gets washed away because someone spoke ill of them.
I moved to L.A., and people said that I would never find work, that I would never find good friends, and I feel like I was fortunate enough to find the work, but it wouldn't mean anything unless I had a group of people who could appreciate it.
One of the more interesting things I've learnt since becoming a writer is that if you like the book, you'll generally like the person. It doesn't always work in reverse - there are huge numbers of lovely people out there writing not very good books.
Basically, a manager's job is to make other people more productive. What's one really good way to do that? Do the work that is getting in their way. Which means find out what kind of important work your developers dislike the most, and do it for them.
People who are fit are the same as anyone else. The only difference is their level of commitment. If looking good and being fit was easy, everyone would do it! Most people don't want to put in the work or make the sacrifices needed in order to be fit.
People think that if you've written a book and somebody's given you a pat on the back then, you know, it's all - you're all settled, you know? You're going to be fine. I know that if I'm not confused, and really afraid, my work isn't going to be any good.
I think 'Ratcatcher' broke even as a film, but it got a good critical response. I think that people knew that it wasn't going to be a conventional piece of work, but they were still willing to invest in it. With this material you have to be quite courageous.
When I moved out to Los Angeles to get some film and television work, and couldn't get any... I became a little isolated, a little terrified, and it's a good place to get writing, because you're so bored. So I wrote a few screenplays, and people notice those.
It doesn't work that way, you know, because most parts that you think you'd do well, most other people don't. So they offer you something - The Avengers is a good example... I fitted into that because I came from that sort of background. It's not even acting.
We're not robots, we're not factory built. We have feelings, we have families and we go through tough times that people don't know about. Sometimes your form isn't good and there's a reason for that. Sometimes the team isn't playing well and you can't quite work out why.
One of the eternal mysteries of ballet is how untalented choreographers find backers for their work, and then find good dancers to perform in it. Is it irresistible charm? Chutzpah? Pure determination? Blackmail? Or are so many supposedly knowledgeable people just plain blind?
I have never fanned out at all, actually. I mean, there's only a few people that I have fanned out about before: Mark Hamill, Harrison Ford, pretty much anyone from 'Star Wars.' But I don't usually fan out at all, just because they're all people just doing their jobs. It's exciting because they do very good work!
I was constantly reading books about how to direct, and asking directors, 'How do you do it?' And when I finally actually started doing the work, it seemed like you have to be decisive and have an opinion. But also you have to be a good collaborator and hire the right people to shore up whatever your skill set is.
I won't call my work entertainment. It's exploring. It's asking questions of people, constantly. 'How much do you feel? How much do you know? Are you aware of this? Can you cope with this?' A good movie will ask you questions you don't already know the answers to. Why would I want to make a film about something I already understand?