A Quote by IronE Singleton
Whatever you do, whatever you come up with, whatever you decide on, you can go with it, and if the director or the execs, they like it, then you'll stick with it. That's a good thing, as opposed to having something that's already written.
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Well, the first thing I do is I try to listen to whatever rapping is already on the track. I listen for cadence and melody to see how the track's already been written, and to make sure that whatever flow or flows I decide to run with, or patterns or melodies that I decide to put into the song, that they're not already in there. Then I try to see if there's a different part of the subject matter that I can talk about.
Whatever is unnamed, undepicted in images, whatever is omitted from biography, censored in collections of letters, whatever is misnamed as something else, made difficult-to-come-by, whatever is buried in the memory by the collapse of meaning under an inadequate or lying language - this will become, not merely unspoken, but unspeakable.
Sometimes you just wanna go out, see your action movie, be done with it, come home. You know, and, like, you see 'The Matrix' or whatever, you see whatever film it is, and you're like, 'Oh cool,' whatever.
I want to motivate people because I know how it is, struggling, and coming from a place where you have nothing. So my thing is to motivate people to let them know whatever you put your mind to, or whatever you love to do, then stick with it and don't give up.
Wherever you go, there you are. Whatever you wind up doing, that's what you've wound up doing. Whatever you are thinking right now, that's what's on your mind. Whatever has happened to you, it has already happened. The important question is, "how are you going to handle it?"
.... Like it or not, this moment is all we really have to work with.
Our time here is magic! It's the only space you have to realize whatever it is that is beautiful, whatever is true, whatever is great, whatever is potential, whatever is rare, whatever is unique, in. It's the only space.
Whatever character you play, whatever film it is, whatever story it is, for me, in my training it's always something that gives you a layered character, it's understanding the secret of that character, and so whatever comes up as "Oh, I thought that person was that," you are always carrying that within you. So actually what you're playing all the way through is both and it's just what comes out in the scene or the circumstance.
Take three conscious breaths. Just pause. Let it be a contrast to being all caught up. Let it be like popping a bubble. Let it be just a moment in time, and then go on. Maybe you are on your way to whatever you need to do for the day. You are in your car, or on the bus, or standing in line. But you can still create that gap by taking three conscious breaths and being right there with the immediacy of your experience, right there with whatever you are seeing, with whatever you are doing, with whatever you are feeling.
You want to stick with one sport and master one thing and be good, yeah, you might be able to go to more combines, but the life experiences and athleticism you get from playing three sports or whatever will stick with you and help you progress.
But having said that, regardless to what reviews come out whatever, I like love the movie. I think it's great, and so people can think what they think about it, but I'm very happy with what we did. I'm really proud of whatever all the actors what we all kind of accomplished and so regardless of how well it does or whatever I'm very excited about it and I think we set out to do the thing and accomplished what we wanted to do. Our goal was met, so yeah.
The writing gets done away from the keyboard and away from the studio in my head, in solitude. And then I come in and hopefully have something, then I wrestle with sounds and picture all day long. But the ideas usually come from a more obscure place, like a conversation with a director, a still somebody shows you, or whatever.
A problem that I have with everything fictional is that writers are always having to come up with sudden artillery explosions in the middle of whatever is going on. The characters are having interesting, subtle interactions, or jealousies, or whatever it is, and suddenly some gigantic angry eruption has to happen, a giant gasp where everyone has to scramble around. That's the point where I'm turned off. I want the dynamic range to be a little smaller. I don't like the big false bangs.
They stick you with those names, those labels -- ‘rebel’ or whatever; whatever they like to use. Because they need a label; they need a name. They need something to put the price tag on the back of.
I want to take my focus off myself and focus on God. It's like setting your spiritual compass so no matter which way you turn during the day, whatever comes up, then my thoughts go back to Him and whatever He said that morning.
Every player needs that one or two innings to get the confidence in whatever format to realise that he's good enough to be successful in whatever conditions or at whatever level.
Most of the time for me, you're learning what not to do, as opposed to what to do. You never know what to do. I don't, especially in a work environment. You have a little formula yourself. But when I see a director do something I think, whatever he or she just said totally screwed that actor up and now they're worse. I'm never going to do that. I'm going to figure out something else. I want my movie to be good. And that's how it works.
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