A Quote by Brady Corbet

Movies that I remember working on, or things that I remember working on, are things that took years of struggle and strife to get them off the ground or get them in front of the public. You don't have that kind of strife or whatever with a television show. It has an automatic platform. You go in, you do your job, and then it goes on air, and that's that.
My job is really to... everyone is reading the script, and my job is to make sure we all interpret it in as much the same way as possible. And then I give them the freedom to sort of - to get their performance across and then make suggestions where things are not working and accentuate and push things where they really are working.
In television, things move quite slowly. It can take years to get a show off the ground.
Next, take a look at the quality of the people who surround you. Do these people back you emotionally, or not? If they don't back you, are they at least passive? If not, get rid of them. Sometimes it is hard to drop off your mates at the great bus stop of life. But remember, your energy will only rise in direct relationship to the number of things you are able to get rid of - not to the things you acquire. By getting rid of things, attitudes, encumbrances, and blocks of one kind or another, things fly.
As far as the command centers are concerned in Raqqa and to a lesser degree Mosul, cut those off. Do the same kind of thing that we did with Sinjar , working with our embedded special forces with the Kurds, shut off the supply route, soften them up, then we go in with specials ops followed by our air force to take them over. Those are things that work.
I'm working on a number of different things. I'm working on a couple of TV things and I'm working on a couple of film things too, and they're all very early stages. One of them I'm writing myself, one of them I'm writing with somebody else, and one of them I'm supervising a writer, and they're all sort of coming up at the same time and it'll be interesting to see which one kind of reveals itself first and jumps ahead.
Realize that war is common and justice is strife, and that all things come into being and pass away through strife.
Unfortunately, when you're working in film, it's this huge machine, and you've got to get everyone right there, so you get kind of locked into things. I'm not sure where the artistry in film making is. It's usually that moment when you're on set and you're working with the actors. That's the time to play around, the moment of theater. And then you can shape things. But a lot of it is just managing stuff. It's upsetting because you get away from the core.
I've never seen novels as built things. I have a tendency to see them as found things so that I always feel a little bit like an archaeologist who's working to get some fragile fossil out of the ground. And the more you get out unbroken, the better you succeed.
You go through this business and you meet people that you bond with, and you get to go make movies with them. It's wonderful. What I've always dreamt of, in my career, is to have a brotherhood of collaborators, and go in and out of working with them. I'm just starting to get that, and it's really lovely.
My parents took me to a movie, and I remember wanting to sit apart from them for some reason. I wanted to be a big boy or whatever. I remember looking up on that screen. It was a movie about medieval knights. All I remember is saying, 'I want to do that. I want to make movies.'
There was a lot of improvisation on 'Step Brothers.' I remember it being really frightening, and it took me a long time to get used to it and grow to be able to hold my own. But I remember when it was done feeling like, 'I don't know if I ever want to go back to working another way.'
I keep saying we've got 92 million Americans on the beach. They're not working, and they're all eating, and they're all making phone calls, and they're all watching television. But they're not working. You mean to tell me if you tell them that to keep all that they're going to have to get a job, that that is a detriment to your campaign?
In the light of consciousness all sorts of things happen and one need not give special importance to any. The sight of a flower is as marvelous as the vision of God. Let them be. Why remember them and then make memory into a problem? Be bland about them; do not divide them into high and low, inner and outer, lasting and transient. Go beyond, go back to the source, go to the self that is the same whatever happens.
Initially, I think I was eager to get off Staten Island and go away for school, that kind of thing. Then what you do maybe 10 years after that, you start maybe appreciating all the great things about the place you grew up. You can go back and enjoy it because you don't have that angst or sense of struggle to get away anymore.
You do remember things that people say in movies. You remember particular lines and things that are funny. But, you also remember really strong images. Images have a way of bypassing your brain and hitting you emotionally. There are so many things from movies that are remembered, that are just looks on people's faces or incredible vistas or beautiful pictures. That is a very important part of cinema.
Your teacher cannot bridge the gap between what you know and what you want to know. For his words to ‘educate' you, you must welcome them, think about them, find somewhere for your mind to organize them, and remember them. Your learning is your job, not your teacher's job. And all you need to start with is desire. You don't need a schoolteacher to get knowledge - you can get it from looking at the world, from watching films, from conversations, from reading, from asking questions, from experience.
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