A Quote by Bob Odenkirk
You get to use everything you learned in movie business. You talk to actors, if you do it right - and I haven't always done it right - you should be shaping the material all the time. And the other thing is, you get all the blame when you direct and it doesn't work. You get slammed. So that's another reason to know what you're making, why you're making it, and make it the way you want.
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Normally, after a movie, you know, you don't want to get up and do another one right away. That kind of pretend muscle or whatever you use making movies is kind of, you know, spent. And you have other things to do.
So if you want to get things done, you positively have to understand at any given point in time what is the most important thing to get done right now and if you're not doing it, you're not making progress at the fastest possible rate.
When you have the catalog of work, it doesn't feel like you've got one shot to get it right; it's just like, you're making a new document of something at the present time, and it's a living thing, and it changes. It's been cool to help other people make their records, to produce. You get a crash course in things that you don't get as the artist.
When I'm making a movie, it's making use of my creative juices, and it fills me up with what really is - I think my purpose here is to tell stories. When I'm not, then I really have to learn how to live life and make use of the time properly. I'm not always great at making those decisions, but when it comes to working, my time is totally taken up. I have no option except to get up early in the morning and to work on that movie and to finish. But I take that with a pinch of salt, because I also love my time off.
I always say to people when I'm trying to get something going, bringing on other producers or other directors, "You can think of 95 reasons why not to make a movie. You've got to address why you want to make the movie and get it done. Just do it." I tend to live by that rule.
The thing about drugs is this ... the Libertarians kind of have the right idea on this: Basically, their theory is that you own your own body, and the government should get out of your face. But, you also do not have the right to harm other people or to impinge on their rights or space. So, let's apply that to drugs . If you want to get wrecked, and you could afford it, and you have a place to do it where the results of your behavior can't harm another person, I don't see any reason why you shouldn't be allowed to do it.
Every time you try to make another movie, you never know what will come of it. I can't say it ever gets easier, but it is in it's own way gratifying. I think that because no one movie that you make ever quite satisfies you, you're always feeling, "Next time I can get it right."
People call you "director," but it really should be "economic manager." Because everything is "Well, we can do another take here, but then you're gonna lose that shot over there." Or "The sun's going down, sorry, you're outta luck. We can't afford to." You know? And meanwhile, how do you get the performer's performance? I'm thinking the whole time all about "How can I get my day done?" And my performances are primarily a result of casting the right people at the right time in the right parts. And then I do little modifications.
It was very hard to make 'Funny Face' in Paris because making movies is difficult and making a movie in a city that was glorious, that was unique and surprising, to get it, to put it on film you have to make choices and reject a lot of things so you're always wondering: "am I doing it right?"
It was very hard to make 'Funny Face' in Paris because making movies is difficult and making a movie in a city that was glorious, that was unique and surprising, to get it, to put it on film you have to make choices and reject a lot of things so you're always wondering: 'Am I doing it right?'
When you get in situations where you cannot afford to make a mistake, it's very hard to do the right thing. So if you're trying to do the right thing, the right thing might be to eliminate the cost of making a mistake rather than try to guess what's right.
I want to get out of the way of the actors. I want to get out of their eye lines. I want to them to stop thinking they're making a movie. I want them to just go and live. It's like you take these great actors and put them in an aquarium of life, and just watch them swim. That's what makes editing tough because you get all these beautiful, unplanned moments.
There's an entrepreneur right now, scared to death, making excuses, saying, 'It's not the right time just yet.' There's no such thing as a good time. I started an apparel-manufacturing business in the tech-boom years. I mean, come on. Get out of your garage and go take a chance, and start your business.
When you are famous it is hard to work on small problems. This is what did [Claude Elwood] Shannon in. After information theory, what do you do for an encore? The great scientists often make this error. They fail to continue to plant the little acorns from which the mighty oak trees grow. They try to get the big thing right off. And that isn't the way things go. So that is another reason why you find that when you get early recognition it seems to sterilize you.
I always say if you're going to do a movie about Charles de Gaulle get a Frenchman, you know. I'm not French. And yeah, sure I could get with a dialect coach and work for six months trying to talk like a Frenchman. But there's some French actors. Just get one of them, you know.
I love these appeals to the "complexity of doing business in Alaska." If you want to live in remote villages or places with hostile weather and environment, that's certainly your right. But why is it you please continue to expect that the rest of us are responsible for making that economically feasible. You already get a big boost from oil and other natural resources. If that's not enough to pay for the infrastructure you say you need, maybe you should consider moving down here. No passport or work visa is required.
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