A Quote by Adrian Pasdar

Every film I've done, I've tried to pick ones where I can learn. — © Adrian Pasdar
Every film I've done, I've tried to pick ones where I can learn.
I've done choir since I was tiny, and I've always tried to get into plays. They all just meshed together. Now with my career, especially with music, people are like, "Which one do you pick?" I don't pick either. They're just different expressions of who I am.
Post 'Pink,' I don't have any film which I can pick out from my filmography and say 'It would have been better if I hadn't done this film.'
I'm not trying to say that the work I have done in the past is path-breaking, but I have definitely tried to pick the best from what I was offered and being an outsider with no one to guide me I think I have done well.
Every film is a challenge. I always say that making a movie is like film school - you're always learning. But unlike most schools, you never get done with it. You never learn everything.
Whether youre trying to learn in hockey or trying to learn in life, Ive always tried to be observant and tried to learn more, tried to evolve, whether its as a hockey player or as a person. With each year, I try to do that.
I tried to make guitars that were close to what my heroes played. That's the way it's done. My experience is that you have to do it like a musician. You have to learn the language before you can learn to be a novelist.
Whether you're trying to learn in hockey or trying to learn in life, I've always tried to be observant and tried to learn more, tried to evolve, whether it's as a hockey player or as a person. With each year, I try to do that.
I always wanted to be a feature filmmaker and tried to treat that experience as some sort of elite film school where I could learn the craft, and got paid to learn the craft.
Every film you work on is different, and that's part of what it's like for anybody who works on a film, is to learn how to work with others. Learn from top to bottom. Actors have to learn how to work with the director and the director has to learn how to work with actors, and that's not just those two departments.
Every film teaches you something; every experience on every film set with every co-star teaches you something. You learn something new. I think the challenge is to keep working harder and doing better.
When I switched to screenplays - 'cause I had done musicals and plays - the first assignment in film school was, you have to write a silent film. And it's tremendously helpful to learn how to do that because dialogue can be a crutch. If you can master a silent film, you're golden.
There was no way I was going back to school to study anything for another three or four years. I was done with that. So I tried working on other people's projects, but didn't find any where I felt I could learn what I needed to learn.
Children's books aren't textbooks. Their primary purpose isn't supposed to be "Pick this up and it will teach you this." It's not how literature should be. You probably do learn something from every book you pick up, but it might be simply how to laugh.
If you're a filmmaker, and every time you finish a film, you just naturally go, 'Oh, I could have done so much better,' that's not much fun, is it, really? You might as well go pick another profession if that really is how you derive satisfaction from it.
A monkey was carrying two handfuls of peas. One little pea dropped out. He tried to pick it up, and split twenty. He tried to pick up the twenty, and split them all. Then he lost his temper, scattered the peas in all directions and ran away
Every film I've made has a kind of frustrated love story in the center of it. They were people who saw life from opposing points of view, which has been in every film I've ever done. It had all the ingredients of the kinds of films I like to do.
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