A Quote by Ernest Borgnine
A lot of people forget that today. They come to the point where you walk on a set and the first thing you know you're looking at the sound man and you're saying to yourself, "How the hell can they get any sound when nobody is talking!" They get all mumbly. You can't make out what they're saying! And you're 6 feet away from them! Whereas in the old-time movies, you hear them, you understand every word they're saying, and you didn't have to put on your loudspeaker.
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Every now and then, when you're on stage, you hear the best sound a player can hear. It's a sound you can't get in movies or in television. It is the sound of a wonderful, deep silence that means you've hit them where they live.
The thing that [the Senate and the House] don't realize is that everyone wants them to come from beyond that contradiction so that we can all fix it. Nobody is saying, "We don't have a problem." Nobody is saying that, "9/11 didn't happen." What they're saying is, "We're not a fragile country, trust us to have this conversation, so that we can do this in the right way, in a more effective way."
A lot of people kind of... conform. I don't want it to sound like I'm saying don't care about championships. That's not my point. But what I'm saying is a lot of people give in to the pressure of, 'I didn't have this; I didn't have rings.'
When I think of the things that I want to write, I can never say them out loud because I know how crazy they sound. I know what things sound like when you haven't actually worked on the script, so I don't go around saying some of these ideas because they just sound awful.
I hear a lot of people saying my stuff sounds the same. When you're in my position, people come to you to give them the same sound in a different type of way.
There was always this sort of weird process in the development and pre-production, thinking, 'How do we get the studio tracks that Joy Division recorded that are so clean and pristine but sound rough and live and how do we get the live versions to actually sound clear enough so you can make out what they're saying?' That was sort of the frustration with Anton Corbijn and myself, figuring out how we make that work.
For one, [ Freddie Roach] is wasting his time because I don't even read those reports. So that's the first thing. Secondly, I hear about them from other people around me and it doesn't make a difference to me. It seems kind of odd for him to be coming out so much and saying so many different things and every day it's a new thing. But like I said, I don't read them and I don't care about them and it doesn't make a difference come fight night.
A lot of time we don't get into politics because we don't believe anything you're saying and we can't understand what you're saying because we ask you question and you tap dance around the issue so much that we forget what we asked.
I make the joke, all the time, that if you have the word "man" and a number in the title, like Batman 2, Spider-Man 2 or Iron Man 12, you'll get it made. The kind of movies I make, studios don't make them. I've made a lot of movies, and at Castle Rock, we've made 125 movies. None of them get made at a studio. I've got to scrounge around for money, every time. I just like to tell stories. I'm a storyteller, so I want the most people to see it.
But everyone comes to Hollywood hoping to get a role people are going to remember them for, and I get girls saying I was their first crush, or Asian guys saying Rufio was the first time they saw an Asian kid on-screen that wasn't nerdy or stereotypical, so I was lucky the character that resonated was cool.
We have an open society. No one will come and take me away for saying what I am saying. But they don't have to, if they can control how many people hear it. And that's how they do it.
I think the truest things come from silence, but everything's always so clogged up with noise. If everything falls away, and you can truly listen to someone, giving them yourself and generosity, you can truly lose yourself in what they're saying. Like, not impose your ideas on what they're saying, but really tune into them.
When you get an idea, so many things come in that one moment. You could write the sound of that idea, or the sound of the room it's in. You could write the clothes the character is wearing, what they're saying, how they move, what they look like. Instead of making up, you're actually catching an idea, for a story, characters, place, and mood - all the stuff that comes. When you put a sound to something and it's wrong, it's so obvious. When it's right, the whole is greater than the sum of the parts. That's a magical thing that can happen in cinema.
I think nobody can get me out. I've got a pretty good idea of what I want to hit. If I get my pitch, I'm going to get a hack in. And if I don't get you this time, I'll get you next time. I'm not saying I'm better than anybody, but I am saying that nobody is better than me.
Playing in Seattle, 'The 12' are extremely loud. At first, I could be on the field, two feet away from you and not hear a single thing you're saying. But once you get used to the noise, you use it to your advantage. It charges you up.
When I'm tired, I tell myself what the people are saying about me. In that second workout when I'm saying, 'Man, I don't want to do this.' I remind myself, 'They're saying you're old. They're saying you're 33. They're saying you can't do it this year.' I play games with myself off that stuff.
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