A Quote by Joe Swanberg
I learn a lot as a director from acting in other people's films and just in general. I want to try and be as involved in the art of filmmaking as possible. I feel that the only way to really do that is to take on as many roles as possible, whether it be as an actor, an editor, a director, a cinematographer. Basically, I like to help and be involved, so anything anybody asks me to do, my first reaction is to say "Yes."
Related Quotes
I want to try and be as involved in the art of filmmaking as possible. I feel that the only way to really do that is to take on as many roles as possible, whether it be as an actor, an editor, a director, a cinematographer.
I learn a lot as a director from acting in other people's films and just in general.
Filmmaking has always involved pairs: a director coupled with a producer, a director alongside an editor... The notion of couples is not foreign to cinema.
The nature of filmmaking is that there are so many people involved in it, so many fingers in the pie, that part of the talent of a director is to try and get your personality through in the movie.
I have always considered myself a fast learner. I try to retain and absorb as much information and knowledge about the [music] business as I can. I don't want to just sit back and have other people do the hard work for me. I try to be involved in every process of my career as possible. I run my own social media, record, and try to vocal produce myself as much as possible, write my own songs, style myself, and learn the business side. If I didn't do acting or music, I was going to school for business. God has put me on this path and I can honestly say I wake up every day doing what I love.
You can give the greatest performance possible, but if you don't have a director who's pointing the camera in the right direction and an editor who's editing it properly, it doesn't matter what you do. The director and the editor are the most important people. Not the actors. Sometimes the writer is important. But if you don't have a good director, you can't have a good production.
I feel like karma is something that's real. I try and be the best possible person I can be, but not only that I try to help as many people as possible and influence others in a positive manner. And that's all stuff brought on by MMA because I want to be successful so want to be the best possible person.
Well, I think that's been my career. I always choose stuff that's the same, yet different. These projects just happened. I didn't plan it out that way. I just happened to be free, and the director, Dan Pritzker, decided to do his film again. I say again because we did it seven years ago. A lot of the actors were not available, so he just couldn't wait anymore and he recast everything. Me and two other characters are the only people involved with the new one, who were involved with the previous one.
...When someone asks me to help create a room my first reaction, if I do not already know the person, is to try to feel out what he or she really wants the room to be and to understand, if possible, what "memory," old or new, has brought this idea about.
One thing that I have learnt from many senior actors is that you can never take anything for granted. Whether one is working with the best director or a first-time director, every experience teaches you a lot.
A lot of the projects that I do, I like to be involved with earlier. I just feel that, certainly from an acting point of view, it's easier to do my job, if I'm included in what the intentions are, for why people are doing what they're doing, especially with a director.
I want to take roles that challenge me and I want to like the script and obviously feel connected with the director because the director to me is so important.
I find myself acting for an editor more, because there's a quick turnaround with television, so you want to try and seem like you're as frenetic as possible, while replicating your movement so you're giving the editor more opportunity to cut within the different takes. If you're so crazy that you're sitting in one take and standing in another, the editor can only choose one take or the other. But if you can wrangle yourself into the same spot over and over, then you give them more choices for you.
I was the executive editor on a little magazine called Greek Accent, whose only claim to fame is that its art director went on to be the art director of Discover for many years.
Acting is the work of two people - it's only possible when you have the complicity, the help, even the manipulation of a director.
When there's an actor involved, the actor's talking to the director or the director's talking to the actor. But when there are not those two people interacting, it's all one person in your own mind, you have to be so extra-clear about what you need.
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