A Quote by Clint Eastwood
I'm more focused on making a scene seem real as opposed to perfect.
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I think in general the American scene is much more focused on bouldering, where in Europe they're more focused on sport climbing.
For me, making a movie is kind of like vomiting. Not that film is like vomit, but more like this mass of ideas and thoughts that you have and just have to put them out there. It's not even about making perfect sense - it's more about making perfect nonsense. I don't do too much soul-searching or self-analysis. I just enjoy making things.
Every scene in 'Ganga Jamuna' has been spellbinding for me. I can see the film any number of times and still not be able to pinpoint a scene and say 'This is the best scene!' Every scene is perfect.
I probably still haven’t completely adapted to the world. I don’t know, I feel like this isn’t the real world. The people, the scene: they just don’t seem real to me.
I've begun to believe more and more that movies are all about transitions, that the key to making good movies is to pay attention to the transition between scenes. And not just how you get from one scene to the next, but where you leave a scene and where you come into a new scene. Those are some of the most important decisions that you make. It can be the difference between a movie that works and a movie that doesn't.
The consequence of making it a business thing and making an artist the same as a Wall Street trader is that you do get a robot by the end of it. It becomes more robotic as opposed to being more soulful.
I remember the first time Bill Fichtner and I had a scene together. I've seen him in a few movies, from 'Armageddon' to 'The Perfect Storm' and 'Contact,' and suddenly he's on a bunk bed and I'm on a bunk bed and we're doing this scene together. That was a real 'pinch me' moment.
I remember the first time Bill Fichtner and I had a scene together. I've seen him in a few movies, from Armageddon to The Perfect Storm and Contact, and suddenly he's on a bunk bed and I'm on a bunk bed and we're doing this scene together. That was a real 'pinch me' moment.
I was focused on The Hunger Games movie with my director, with the studio, and with the cast and crew. We all just focused on making the best possible movie we could, and earning the right to do more.
Many boyfriends or close male friends seem so different when they are by themselves, as opposed to when they are with a bunch of other guys. I think it has to do with the desperate desire on the part of guys to be seen as a "real guy" - a real man, a man's man.
I have ever been opposed to banks, - opposed to internal improvements by the general government, - opposed to distribution of public lands among the states, - opposed to taking the power from the hands of the people, - opposed to special monopolies, - opposed to a protective tariff, - opposed to a latitudinal construction of the constitution, - opposed to slavery agitation and disunion. This is my democracy. Point to a single act of my public career not in keeping with these principles.
Grandeur of effect is produced by two different ways which seem entirely opposed to each other. One is by reducing the colors to little more than chiaroscuro... and the other, by making the colors very distinct and forcible... but still, the presiding principle of both those manners is simplicity.
The more perfect the sight is the more delightful the beautiful object. The more perfect the appetite, the sweeter the food. The more musical the ear, the more pleasant the melody. The more perfect the soul, the more joyous the joys of heaven, and the more glorious that glory.
When you're acting in a scene, you're focused on doing the scene. You can't break character and go, 'Oh my God, I love what you're doing!'
I call it the 'House of Reprehensibles.' We don't have any real political resistance to this growth of the domestic state across the board. So I'm much more focused on that than on the Patriot Act, which is a real effort, however inept, to deal with a real problem.
I'm more of an empiricist. I'm focused on right or wrong, as opposed to left or right.
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