A Quote by Clive Anderson
It is a bit frustrating. Things come and go in television. At the moment they've gone.
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We are all refugees from our childhoods. And so we turn, among other things, to stories. To write a story, to read a story, is to be a refugee from the state of refugees. Writers and readers seek a solution to the problem that time passes, that those who have gone are gone and those who will go, which is to say every one of us, will go. For there was a moment when anything was possible. And there will be a moment when nothing is possible. But in between we can create.
I find with television, you have to play personality, whereas onstage, everyone talks about 'the character,' and what you do. It's a very different thing, because stage is much bigger, but on television, for things to come across to the public, I think you have to play a bit of your personality.
I find with television, you have to play personality, whereas onstage, everyone talks about "the character," and what you do. It's a very different thing, because stage is much bigger, but on television, for things to come across to the public, I think you have to play a bit of your personality.
I think there's something really freeing about improv, that it's a collective, creative, in-the-moment piece. That's really exciting and really frustrating, because it's there and gone.
There are many things clogging the television waves. You've got to fight for every bit of television households you can get.
With a play, you do it and it's gone. Films always date. Television drama always dates. Television comedy, for some reason, seems to go on.
With certain projects, there are delays, and with others, things come together very quickly. It can be frustrating but it's not uncommon, and you just have to keep a lot of things juggling and hoping all of these projects will go when all the pieces fall into place. You just have to be ready for whatever catches fire.
One moment it was there, another moment it is gone. One moment we are here, and another moment we have gone. And for this simple moment, how much fuss we make! How much violence, ambition, struggle, conflict, anger, hatred, just for this small moment! Just waiting for the train in a waiting room on a station, and creating so much fuss: fighting, hurting each other, trying to possess, trying to boss, trying to dominate - all that politics. And then the train comes and you are gone forever.
You can't really gauge the difficulties of television. There's difficulties and joys that happen with an amazing, great team, when one is working. Television can be a very frustrating job for almost anybody working in television, because you're shooting episodically, and you don't know one scene from the next, and maybe they change around.
Pause for a moment and check where your own heart and thoughts are. Are you focused on the things that matter most? How you spend your quiet time may provide a valuable clue. Where do your thoughts go when the pressure of deadlines is gone? Are your thoughts and heart focused on those short-lived fleeting things that matter only in the moment or on things that matter most?
I would really like to focus on directing features, and then eventually take that skill set back to television. On features, you have more control. On television, the producers are the creative forces behind it. Directors come and go on television.
Living here in North America - I have been Americanized. When I go back home now, there are things that I have far less tolerance for in South Africa. We've come such a long way in terms of race relations and the economy as well as people's willingness to move on. There are still a lot of things that are frustrating about being in South Africa.
When there's a lot of talk about a team that should or could be winning things, and it's not happening, it can become a little bit frustrating.
It is just an illusion here on Earth that one moment follows another one, like beads on a string, and that once a moment is gone, it is gone forever.
What I like, or one of the things I like, about motoring is the sense it gives one of lighting accidentally, like a voyager who touches another planet with the tip of his toe, upon scenes which would have gone on, have always gone on, will go on, unrecorded, save for this chance glimpse. Then it seems to me I am allowed to see the heart of the world uncovered for a moment.
Tessa is gone, and every moment she is gone is a knife ripping me apart from the inside. She is gone, and they cannot track her, and I have no idea where to go or what to do next, and the only person I can imagine speaking my agony to is the one person who cannot know.
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