Quotes of All Topics . Occasions . Authors
Swimming gave me my start, but my pal Tarzan did the real work. He set me up nicely.
I don't work out or watch what I eat - but I need to start so it doesn't catch up to me.
I think that something photographers find about me is that I work really hard to make sure I know what they want before I start shooting.
I have my belief structure, and it's very important to me, but people start associating that with you, and you become that. I want to be judged for my work.
I work very closely with my co-writer, Efthimis Filippou. Ideas either start from him or me, and then the other one develops it, and it's a constant conversation.
I didn't have big movie offers, or any big agents wanting to work with me. I had to go grassroots, start at the bottom and go on 150 auditions before someone finally gave me a shot.
That's where I got my start and where I'll continue to work, but I can't tell you the number of films between Drugstore Cowboy and Curly Sue that I auditioned for and wanted that didn't choose me.
Unlike a typical professional, I can't quit my job to become a full-time author; I don't have that luxury. For me, writing is therapy; if I choose to write full-time, it might start feeling like work.
When I was 17, I got a call from Konnan. He told me that he was about to start up a new promotion called AAA. A lot of the popular wrestlers were going to come to work for him, and he wanted me to be one of them.
The original reason to start the project, which was that the Germans were a danger, started me off on a process of action, which was to try to develop this first system at Princeton and then at Los Alamos, to try to make the bomb work.
For me, every day is a new thing. I approach each project with a new insecurity, almost like the first project I ever did. And I get the sweats. I go in and start working, I'm not sure where I'm going. If I knew where I was going I wouldn't do it.
At the start of my career - not just Me Too, which is not the totality of my career - I wish I would have known that you don't have to sacrifice everything for a cause. And that self-care and self-preservation is also a tool that is necessary to do the work.
As soon as I start reading, drawing comes to me more easily. I find I work in my sketchbooks more. But if I'm working on a new show, my reading completely stops except when I'm on a plane. I take a stack of New Yorkers with me. I feel awful about those stacks of New Yorkers.
With Fincher, you can take chances and try things. And what happens is that any pretension and preparation you've done, all the square, intellectual work, you can't keep that up for 40 takes. It breaks down, and new things start popping up. This, for me, is the most exciting thing about film-making.
When I decided to crop what was left of my hair, I thought, 'It's all over. I'm never going to work again: it's basket weaving me for me from now on.' But what actually happens is your casting changes: you suddenly start to get a lot of villains and coppers and soldiers and even the odd sensitive vicar - you become institutionalised.
I didn't really start building my own stuff until I was 24, 25 or so, and even then, I ran into a lot of resistance from, like, older folks, like my bosses at other companies or people in the industry that were like, 'Oh that's an interesting idea, but it will never work.' And, I don't know, I kind of believed everything that they told me.