A Quote by Darren Star
In the moment when you're doing a show, you're thinking of that moment, but you don't think of, 'Here's down the line how people will be relating to the characters.' There's something very universal about 'Sex and the City' that people are still tapping into, where every generation seems to be discovering for itself.
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I don't feel I'm very present in each moment. I feel like every moment I'm either thinking about something that's coming down the road or something that's been in the past.
I always think that I love doing what I'm doing at the moment. The past is over. I can't go play one of those characters again. But I can play this and I can continue to grow in what I'm doing at the moment and that's really what I'm thinking about now.
You're in a movie, so you have to think about how something plays. It's not like you're thinking about how an audience is going to react. You're trying to present the story. You're trying to illuminate the lives of these people in the story. So I'm thinking about how my behavior as this character best illuminates what's going on with them in this moment in time. I always say it's sort of the director's job. People think that the directors direct actors. No. Really, what the director's doing is directing the audience's eye through the film.
In my mind, I'm doing everything, but in reality, I'm doing very, very little. You come up with one idea, one moment, one line that leads to something and you feel like it's easy. And then, you sit back and think there would be no show without that.
My whole effort is how to beautify this present moment, how to make people more celebrating, how to make people more joyous, how to give them a little glimpse of blissfulness, how to bring laughter to their life. Then the future takes care of itself. You need not think of the tomorrow, it comes. It comes out of this moment. Let this moment be of great celebration.
Naturally looking at something will become so important in your aesthetic. For that, you have to be disciplined, too, in the way that there is a moment to catch and there is a moment to express. The moment to express has to be so pragmatic, because you have to build the clothes; you have to be very, very specific about how you want to describe to other people, for the color of the fabric, the way of sewing things, putting things together.
It is one of my targets to show people that a lot of things that are part of their landscape - that people are universal - are the result of some very precise historical changes. All my analyses are against the idea of universal necessities in human existence. They show the arbitrariness of institutions and show which space of freedom we can still enjoy and how many changes can still be made.
[In response to Alfred Tennyson's poem "Vision of Sin," which included the line "Every moment dies a man, every moment one is born."] If this were true, the population of the world would be at a stand-still. In truth, the rate of birth is slightly in excess of death. I would suggest that the next edition of your poem should read: "Every moment dies a man, every moment 1 [and] 1/16 is born." Strictly speaking, the actual figure is so long I cannot get it into a line, but I believe the figure 1 [and] 1/16 will be sufficiently accurate for poetry.
As an improviser you need to experience the moment- and that includes everything in the moment. Observe the people around you-the bandleader, the bartender-what they wear, how they deal with people, the simple continuity of their presence. As you do that you'll see how you affect them , and you'll play and act accordingly. You need to study the reality of the moment, and that is very rarely about studying modes and intervals.
Your whole life boils down to a moment that will take 20-40 seconds. How crazy is that? And it's every four years. I wouldn't tell myself that during the meet, but it's terrifying. A lot of it boils down to a very precise moment in the universe, and that just happens to be the Olympics.
Once you do something that people respond to, they understandably think of you in that way, and you want to work and it's fun and it's wonderful. I think a lot of people in all different fields find themselves in a moment of repeating certain beats. There's also a moment that is personally related to age as well - in whatever field you're in, you say, "Wait a minute, where am I and how did I get here? How has this changed from my original intent and what do I want to do about that now?" That's part of the process.
In the future, maybe quantum mechanics will teach us something equally chilling about exactly how we exist from moment to moment of what we like to think of as time.
I think there seems to be a need for escapism at the moment. Maybe that's the type of world we're living in. It's a sanctuary, in a way, where you can immerse yourself in something that doesn't exist, whether that's TV shows or comic books or novels. it's not solely down to magic and vampires - that's in at the moment. but escapism, being a part of other worlds, is very good for you.
I think people are drawn to characters that break the rules. I think there is something about a good person doing bad things for what they consider to be a good reason. Then the battle is on to almost prove to the audience that it's justified. How far can you go with that? How far can that character go before people won't accept it? Trying to walk to edge of that line is a challenge.
Our goal is to tell people about the International Space Station. I think very rarely people look up 250 miles and think, What are those guys working on, what are those men and women doing at this moment... They're living and doing regular things, but also doing incredible work as well. We really want to bring that to people.
You figure out how to create opportunities to make music, and then, if you take care of the music, audiences will come around. They also might leave. What matters is the moment: the moment of making music, with and for and among others, and what that offers to those people in that moment. They might never see me again; they might never learn my name. But it might still be something they carry with them.
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