A Quote by Philip Rosenthal
I didn't know what I was going to get. You never do, when you're filming something for real.
Related Quotes
I love that you work out relationships with people as you're filming just to get something real to play on screen.
I never knew Artist was going to get this big. When I was making it, I put my all into it. But you never know what's going to happen with something you make.
As a songwriter, you're never off - for me, anyway. There's a certain mentality of people that decide, "Oh, we're going to try to write songs from this time of the day to this time of the day." Almost treat it like a real job. I can't do that. I've never been able to write songs like that. You never know when something creative is going to hit you, or emotion or whatever. You can take it, and turn it into something that makes somebody feel something. I love that about my job.
One of my favorite things about the Kung Fu Panda 3 is the look of it. We never go for realism. I think a lot of time when people go for 3D that's the mistake. Because we're never going for full realism - for computer generated live action films like Avatar the goal is realism, to make the audience feel like they are seeing something that is real. Lord of the Rings had character design and environments to make it look real, whereas we aren't going for that, we are going for something that is theatrically, viscerally, and emotionally real.
Often people think they know what they want, but what they really want is something that's genuine. So they'll be saying, "Do another one like that," but you liked that one because it's real. So as long as I keep it real and I do something that's real to me, you're going to feel it in the same way.
I've got a real problem when I know something is wrong or I feel something is wrong, I'm going to speak about it. I get it from my mother.
We have no chance to comprehend what goes on there - it's so dramatic, and people are so poor. We all felt bad about being there. Filming in India felt like we were going to borrow something knowing that we were never going to give it back.
My normal way of filming something is, like, one camera, very well planned out, knowing exactly how we're going to get each shot.
On 'Silver Linings Playbook,' David O. Russell is the master at getting his actors to give him something that he doesn't expect. He loves to keep things spontaneous. He talks to the actors throughout a take because, in real life, you don't know what the next person is going to say; you don't know when you're going to get interrupted.
Goal setting is fine if you want to be the warrior archetype. These people are setting goals constantly and trying to get someplace else. They say, "If you don't know where you are going, then you won't know when you get there." When you get to a higher level of consciousness, though, when you get into a spiritual approach to life, you are not trying to get someplace else, because you never can get it done. You never are going to get there. Instead, what you want to do is get to a place where you are at peace. You are connected to God.
When I get scored on or something doesn't go my way, I think of what I'm able to do and I'm reminded that I'm capable of doing it. I'm honest about myself - I know I'm not going to stop everything, so I don't try for perfection. I'm going to try to get there, but I know I'll never be perfect. I think that helps me to deal with everything.
I plot the first 5 or 6 chapters quite minutely, and also the end. So I know where I am going but not how I'm going to get there, which gives characters the chance to develop organically, as happens in real life as you get to know a person.
I didn't know what I wanted to do. I was training about six horses. I was feeling the pressure from the folks. You know, 'When are you going to get a real job?' I never considered training a profession. It was a hobby.
College is something I've always said I wanted to do, but you're going there to get a piece of paper that says you can get a job, but if I'm already working steadily and doing good work, it makes you question your priorities. Right now, I'm in my own film college: filming a TV show.
You never know the opportunity you're going to get, and you're never going to know how good anyone can be without the best opportunities, just as it goes with time.
You never quite know what you're going to come back to and figure out how to make it work. You never quite know where that desire to finish something, or return to something in a fresh way, is going to come from. Every time I finished a film and went back and looked at it, I had changed as a person.
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