A Quote by Brad Pitt
We had a work session [in "Moneyball"] where about 30 scouts came in and we're all riffing. And after it, [director] Bennett Miller said: Look at these faces and this is what we have to got to do. We got to get these guys in the scene.
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When I write something, I want the best director to direct it. And that's not going to be me. So when David Fincher comes along and wants to direct 'The Social Network,' when Bennett Miller comes along and wants to direct 'Moneyball,' or when Danny Boyle wants to direct 'Jobs'? Hallelujah. I want them directing it.
George's voice became deeper. He repeated his words rhythmically as though he had said them many times before. 'Guys like us, that work on ranches, are the loneliest guys in the world. They got no family. They don't belong no place. They come to a ranch an' work up a stake, and the first thing you know they're poundin' their tail on some other ranch. They ain't got nothing to look ahead to.
Trust is always a factor. You've just got to look at the big picture, and you've got to look at the small picture - the small picture in the sense that you've got to make every scene work and you've got to deal with what people are presenting you with, too.
Then after a few years I felt good in daily life but as soon as I started to push my body the symptoms came back and I had no strength at all. I got so tired. After an easy practice session all I wanted to do was sleep for days.
You've got to put a lot of hard work in and it's not just in the swimming pool. You've got to look after yourself, you've got to sleep well and you've got to recover between the sessions, whether that's resting or getting the right food inside you. I always try to get the best out of myself and strive for perfection.
I missed so much of the Swinging Sixties by working. From 1961 to 1969, I got up at 4.30 A.M., a car came for me at 5.30 A.M., and I was taken to our studio at Teddington or Elstree, and we filmed until I got home at 9.30 P.M., five days a week.
I'm not a trust-fund child. I think my father's got a healthy work ethic, and therefore, I think it just came with the part. You've got to look after yourself.
Roman Polanski actually said as much to me once. He had his head in his hands, and I said, "Roman, I've got to tell you, as an actor, seeing the director with his head in his hands... Look, I really want to do what you want me to do." And he went away and he came back, having obviously thought about what I said. And he said, "When my head is in my hands, I'm closing my eyes and trying to remember what I saw in my head, before any of the stuff."
Sometimes we do get taken by surprise. For example, when the Internet came along, we had it as a fifth or sixth priority. It wasn't like somebody told me about it and I said, "I don't know how to spell that." I said, "Yeah, I've got that on my list, so I'm okay." But there came a point when we realized it was happening faster and was a much deeper phenomenon than had been recognized in our strategy.
I had knockback after knockback before I got anywhere. After I got my first record deal I thought that was it, then Gut Records went into liquidation. I was 20. I had no idea what that meant. I had a few days to get myself out of that contract or my work would be owned by someone else.
The scouts [in "Moneyball"] could lend an authenticity that's even beyond what we had on the page.
Rewriting isn't just about dialogue, it's the order of the scenes, how you finish a scene, how you get into a scene. All these final decisions are best made when you're there, watching. It's really enjoyable, but you've got to be there at the director's invitation. You can't just barge in and say, "I'm the writer."
There's actually a time when I got cast in something and it was announced that someone else was cast. I hadn't been told yet if I had the role and I had a breakdown because I really wanted it and it was announced on this website that this other girl had gotten it. I was so sad and called my agents and said, "You guys didn't tell me this other person got the role!" They were like, "No, they haven't decided yet." Then two hours later I got the call that said I had the role.
We've all heard stories about poker players grinding it out for two days straight. Believe me; I've got stories like that of my own. But the bottom line is that these stories usually don't have great endings. That's because the mind starts playing tricks after a marathon poker session, especially after a losing session.
We've got some guys going good and we've got some guys who are struggling. Usually April's a tough month. Guys come from Arizona where the weather's perfect and the ball flies all over the place. Then you get into the reality of the season, and it can work against them, not so much physically as mentally.
It [the scene] can be something given to you and you go, "Ah this is a good idea, I can work with this." Sometimes it cuts right across your instinct and that's when I might resist. Even if the director might be insistent, I think it's very important to say, "Look, I'm not feeling this. I'll try to make it work but I got to let you know."
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