A Quote by Clive Owen

When you are shooting action, there is a satisfying thing because your objectives are very clear. — © Clive Owen
When you are shooting action, there is a satisfying thing because your objectives are very clear.
I've directed bits of action and so I know that it's long and it's very detailed. Editing action is a good deal more exciting than shooting action. Shooting action is very, very meticulous, it's increments, tiny little pieces.
Action that is inspired from aligned thought is joyful action. Action that is offered from a place of contridicted thought is hard work that is not satisfying and does not yield good results. When you really feel like jumping into action, that is a clear sign that your vibration is pure and you are not offering contridicting thoughts to your own desire. When you are having a hard time making yourself do something, or when the action you offer does not produce the results you are seeking, it is always because you are offering thoughts in opposition to your desire.
Stand alone books are nice because they have everything all in one tidy little package. Neverwhere was awesome because you get action, adventure, character development, the exploration of a strange world, PLUS resolution of all the problems and mysteries at the end. No lines no waiting. That's very satisfying. Multi-volume stories are satisfying too, just in a different way.
Your part is to awaken your desire to accomplish your worthy objectives. Then whip your will into action until it follows the way of wisdom that is shown to you.
Let us not confuse objectives with methods. Too many so-called leaders of the nation fail to see the forest because of the trees. Too many of them fail to recognize the vital necessity of planning for definite objectives. True leadership calls for the setting forth of the objectives and the rallying of public opinion in support of these objectives.
One of the challenges is to create an equally positive, satisfying sense of femininity and feminine identity in a different way so that there are things you're saying yes to and satisfying that urge that your daughter has to be assert her girlness. The surface level of the culture, and really several inches into it, makes that very hard to do. I hate to put another thing on parents' plates. But the culture is very intentional in what it's telling your daughter and what it's telling you about the message of femininity. And if you're not intentional and conscious back, you lose.
Shooting clay targets is a very cleansing experience. It's very relaxing. It takes a lot of concentration. It's also very social, since you're usually shooting with friends. You can talk and forget about almost anything else that's on your mind.
The most difficult thing about shooting guns instantly on film is to not pull a silly face while the gun is going off, because it's always a bit of a shock. So you find yourself sticking your tongue out or blinking or whatever. So the hardest thing is to keep a straight face while you're shooting a gun.
From a productivity perspective, prioritization is key. And it's very easy to focus on clearing the decks of minutia, especially when one's very busy. It's almost easy to want to sit down at your desk when you have a free five minutes and try to clear out some of the incoming emails rather than strip things strategically and foundationally and ask about what the most important objectives for you and the company are.
Shooting action is very, very meticulous, it's increments, tiny little pieces.
It's the action, not the fruit of the action, that's important. You have to do the right thing. It may not be in your power, may not be in your time, that there'll be any fruit. But that doesn't mean you stop doing the right thing. You may never know what results come from your action. But if you do nothing, there will be no result.
I wrote the plot [for the Persepolis ]and Vincent [Paronnaud] and I wrote and discussed the shooting of the script. Vincent then took care of the production design, the actual shooting, and what was going on within each scene. It's very difficult, though, to draw a line between who did what. Because Vincent would say something, and I would add something, and at the end you have this film, yet no clear idea of who did what.
By providing clear objectives for your team, and setting guardrails for how they get there, you will set them on the path to success.
A sitcom is the closest thing for me to doing stage because you work in front of an audience, and if it's well written it can be very satisfying.
The vision must be realistic - it has to be based on clear distinctive competencies. Again, what would the world lose if you didn't exist? A vision is very powerful because it gives you a basis to judge every action you take. Every action should be viewed through the prism of whether it furthers the vision.
I like shooting movies in Thailand very much because the government is so cooperative there. The police help you to close the roads for shooting.
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