A Quote by Ben Silbermann
I think that a lot of the most talented and driven people, they're not super deterred by failure. So if you put out a really big challenge, I think they get reality excited by that - they say, 'Hey, why not, let's go give it a shot, and if we fall short on that, at least we took a shot at doing something really important and meaningful.'
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I didn't really start doing stuff until I was 8 or so, but I was an extra in a bunch of different movies, and I just really took to it and really enjoyed it. I kind of bugged my parents to give L.A. a shot, and they were just super-supportive.
But I think it's important admitting to my teammates, Hey, I'm really struggling right now, and can you help me out?' Or, This serve is really killing me in the seam, can you take a step and take it for me so I can go and hit and have a better shot next time?'
I like being at that place where you can either fall or stand. That's where I think you really have a shot at doing something truthful.
I've often been asked why my shot-taking is not stylish, why I don't think about visual statements. The truth is, style is irrelevant. I never think of the shot as much as I think of the characters and what they are saying and doing.
I took acting classes in college, and once I graduated, I decided to give acting a shot when I couldn't really think of anything else to do. It took me a couple of years to get an agent, and my first big break was The Fanelli Boys, which was a sitcom on NBC. Then I did a few television movies.
I think my jump shot could get a lot, lot better. I could become a really big threat out there.
[Being judge] is about being honest and giving everybody a fair shot and telling them what you think. Sometimes it's good and sometimes it isn't. It's more important to be honest than say things to make people feel better. I don't think you have to be rude, but I think you have to be honest. But I think it's really important to be specific: Here's what you did that was great and why. And here's what you did that wasn't great and why.
I feel it's important to point out that I've earned my humility by being a jackass - like, I trip and fall on my face and say, "Oh, right. Don't think you're a big shot, because you've got a bloody nose now." So it's hard to say.
When you're on stage, you gotta do it. People pay to see you, and they deserve to be entertained, and you should go out there and really give it your best shot. And that's quite a challenge.
Give it your best shot. Go for it. If it's what you really want to do, go for it. Even if you don't make it, you will never look back and have regrets. You can always say, "Hey, I went for it. I tried my hardest. It was an awesome experience."
I don't think the idea of working in Hollywood really exists anymore. I think you work in films, and where the film is shot is where it's shot. The studio system doesn't really exist.
Everyone in the Lotus Eaters is so concerned with appearances, but there's an emptiness under the surface that they're trying to ignore. We talked about the theme of perception versus reality a lot with mirrors and masks what people were wearing - and we shot on two formats; we shot it on film and on digital, and a lot of the night-time scenes are film, and it looks better, and people can put on a mask and they can go out there and show an artifice to the world.
I think what I've tried to do is make the world a better place. I think that's what's really important. Nobody remembers who sold the most togas in Rome. In terms of legacy, people remember the great villains more than they remember the great heroes. So I think how you feel about yourself is the most significant question. What do you say about yourself when you put your head on the pillow? Are you really proud of what you're doing and the way you're doing it? I think it's really a fundamental question.
People are going to bash you. You get rejected. It's hard. I don't really feel like that's my place as the teacher. I think the most important thing is to figure out what they're trying to do and turn them onto writers who are doing similar stuff. I think that's something I can do more than anything else: get them to be big readers.
In going for the last shot of the game most people wait too long to take the shot. Give yourself a chance to get the first shot and tap the ball in. Your players are normally inside the defense.
In any big spectacular, it's really difficult to have enough voices to cover all the vocal parts. To give the audience the complete experience they're expecting, there is some reinforcement, some playback that everybody's hearing. Sometimes it's background vocals, but sometimes it will be actually vocal tracks. It's so hard to ensure, with no safety net ... you're not gonna get another shot at it, you have to have stability. I think it's very naïve of a lot of people to think that when you see someone open their mouth, they're really singing.
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