A Quote by Ana de Armas
It always depends on who you work with. It is not about the budget, not about the countries but about people.
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One road to happiness is to cultivate curiosity about everything. Not only about people but about subjects, not only about the arts but about history and foreign customs. Not only about countries and cities, but about plants and animals. Not only about lichened rocks and curious markings on the bark of trees, but about stars and atoms. Not only about your friends but about that strange labyrinth we inhabit which we call ourselves. Then, if we do that, we will never suffer a moment's boredom.
It’s not about the budget; it’s about the power...So will the attack on unions succeed? I don’t know. But anyone who cares about retaining government of the people by the people should hope that it doesn’t.
You always have to write script with a budget in mind. Although it's always good to write the big story, you really have to think about how things are going to work as far as cast, effects and settings. It's a process. You have to always think budget and then execute and make it happen.
Comparatively there is a much more awareness about energy resources in other countries and especially in the US and European countries. Also people there are much more serious about what they do. Here, people are more concerned about getting a 'degree' rather than this.
For context, the budget of Don Jon is about half the budget of (500) Days of Summer. And (500) Days of Summer is about a third of the budget of the lowest-budget movies produced at a major studio.
I'm not trying to be mean. You [ Nicholas Kristof] have written about climate change. You're really concerned and you've thought a lot about the suffering of people in other countries. It doesn't seem like you have thought that deeply about the suffering of your fellow Americans. You don't have the solutions say as you do for global warming. And my question is: Isn't it always easier for the elites to identify with abstractions or poor people in other countries and kind of ignore their own country men. I have noticed this. Have you noticed that?
It's not necessarily a brave thing, people talk about what they think about. There's people out there who love to talk about politics or where they think the countries headed. I don't talk about that I talk about...things that are a little trippier.
For me, I feel like, if the right movie comes along, I'd do it again. It's not about the budget. It's about whether it's something that I'm excited to work on.
I don't worry about budget, at least not early on. I discovered that if you start worrying about budget, then you'll get half of whatever you're trying to worry about. You're constantly working yourself into a corner. So, you just shoot for the stars and then see what you get.
There's something that people misunderstand about screen quotas. It's not about rejecting or hating other countries' films, but about protecting our domestic film industry.
I was always entirely about work, about getting where I am now. If I'm not working I'm thinking about it, though at some point I learned not to talk about it very much.
If the budget that you're talking about isn't a good one, then it's better not to pass a budget. Most people in the country will never notice whether we pass a budget resolution or not.
Studying in countries like China isn't only about your prospects in the global marketplace. It's not just about whether you can compete with your peers in other countries to make America stronger. It's also about whether you can come together and work together with them to make our world stronger. It's about the friendships you make, the bonds of trust you establish and the image of America that you project to the rest of the world.
When you work with great people, you learn - about film, about clothing, about life, about sex.
When you feel good about the work you're doing, that's what's important, not the budget or anything like that. If you're happy about the actors you're working with, that's what's important.
I like hearing other writers just about the way they approach writing. It gives me energy for my own work. It's weird; I'm always taking notes about fiction when I'm listening to people talk about craft.
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