A Quote by Alec Baldwin

Often in films, you have no idea where you're going to be six months from now. And I grew very weary of that. And television, although it wasn't necessarily as creatively diverse as filmmaking can be, it was the lifestyle choice that I needed to make.
Most Chinese filmmakers grew up watching television; they watched films on television, not in cinemas. The scope of their vision is not big enough, they're not yet detail-oriented enough. You have to watch films in cinemas for years to understand the depth and scope of vision needed in filmmaking. Directors in China usually come from an academic background; they graduate as film directors. Whereas the directors from Hong Kong learn their trade on sets, beginning at the lowest rung.
I was going to visit IBM for six months as a visiting scientist. Now, six months is a lot of time, so I came with a whole list of projects that I might want to work on.
They have very good individual players, but they need the collective game. And they still do not have it although there are now only six months left to go.
Perhaps women are lied to more often because managers think they're not going to push back. If you're told, "We don't have the budget right now" and have no access to the budget to prove otherwise, there's not much you can do, but there's no reason why you can't ask if you can reassess in six months. Then, spend those six months chronicling every good thing you do so you return with a stack of data that proves you need that raise.
Filmmaking is about moments. In real life, things might take six months, a year, but [in filmmaking] you have to create the moment where it happened.
When you make a choice as a writer about what it is you want to write, and what it is you're going to spend six months thinking about, you have to fall in love.
I could not possibly be in a relationship now for more than six days. When I was younger, I might have said six months, although I think the longest relationship I was ever in was three years.
I believe its a lifestyle choice and like any lifestyle choice it will be what you make of it and how fully you live and enjoy it.
I'm very influenced by documentary filmmaking and independent filmmaking, by a lot of noir and films from the '40s. Those are my favorite. And then, filmmaking from the '70s is a big influence for me.
The good thing about being an actress is that it's very children-friendly. I can work for three months and then I can have six months off. And then I can work for six months and have six months off.
When working on your own, you can make a choice and find out six months later that you made a bad choice. But when you work with people you trust, who understand your obsessions, you can take risks.
There is so much investment in it of people's labor time that it will never make money. But there are other documentaries that you might make that are sort of on assignment for television that turn around in three to six months. Then the margin can be much be better for you because you're not spending three-and-a-half years on it. So I think if you're doing documentary films, that's sort of the way to look at it.
Most television shows are going to require an actor sign up from four to six years, but an anthology show really amounts to five or six months at the most. I thought serious actors might be attracted to that.
We all are faced by problems of 'How am I going to get the rent?' or 'Am I going to have this job six months from now?' It's very difficult to define in your life a victory.
Louisiana has a storied history in filmmaking, with one of the world's most diverse settings for cinematic and television productions.
I think television is doing a better job than films in terms of representing people, but television is still not diverse.
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