A Quote by Cain Velasquez

That's how fighters get better. They watch film, and they work on what they need to work on. — © Cain Velasquez
That's how fighters get better. They watch film, and they work on what they need to work on.
Every film you work on is different, and that's part of what it's like for anybody who works on a film, is to learn how to work with others. Learn from top to bottom. Actors have to learn how to work with the director and the director has to learn how to work with actors, and that's not just those two departments.
When you work in front of the people, either in a film or in television, the people who are in the room with you are not watching you work, they're working so you'd have to light a fire to get them to watch what you were doing.
I'm always a little starstruck anyway. So to work with a movie star, which is Brad, I was excited about that; to work with a movie legend, which is Tony, I wouldn't have passed that up. Just to get to watch him and watch how he works.
If young actors ask me things, I always tell them to get on set and watch how it's done. If you can, watch the people that you like, how they work.
Some things definitely work better on film than in books. Introspection is great in books but it doesn't work on film. Anything with high intensity, whether it's a love scene, a car chase, a fight scene - those things work so well on film and oftentimes they can tell a much broader part of the story.
I think the success of a film is very important to an actor. It depends on how many people go to watch your movies; the more the merrier. Nobody wants to do a film for five people. You work so hard that millions of people watch the movie; this is directly related to box office success.
I use my film-making to work through my deep questions and my deep problems. I think I could watch each film and tell you exactly which part of my psyche I'm trying to work out.
I come from a place where getting a call to do a film is a big thing. I would work double hard to better a partly-convincing film than be without work.
One of the things you learn when you get married is how you need to always work on continuing to make it better.
I will tell you that I'm a bit of a snob. I love film, and I would like to work in film, and I'm disappointed that indie film is as hard as it is to work in now. It's hard to get things done, but that sort of work is being done on TV. That's what I do; that's what I write. It's what I love, and hopefully, that's what my future's going to be.
My best film is always my next film. I couldn't make Chungking Express now, because of the way I live and drink I've forgotten how I did it. I don't believe in film school or film theory. Just try and get in there and make the bloody film, do good work and be with people you love.
When I work on a movie, I look at the script or watch the film, and I talk to my director or producers and make a plan: this is our main character; we need a theme for this plot. We need a love theme.
My job is to get my shots up, to come to work, to watch film and get out of there. I don't get into the management and coaching side, that's their job - that's what they get paid for.
I'd love to work with Sir Anthony Hopkins, but if that doesn't happen, I'd sneak on to a film set and watch him at work. He is a compelling actor.
Even before 'Moon,' I did a short film called 'Whistle,' and it had a lot of the things that I thought I would need to be able to do on a feature film: I shot on location, there was special FX work, there was stunt work, we used squibs, I shot on 35 mm film.
But I won't work with the exact same crew film after film because I feel the work would get a little complacent.
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