A Quote by David Schwimmer
I try to educate myself as much as possible, as I do with the director and the designers and everyone I used to work with. It just helps, I think, with the frame of reference for who you're working with.
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I wasn't an academic looking in books for ideas. But I educated myself about historical work that was similar to mine, to provide a frame of reference that wasn't the usual frame of reference of the New York art world and Europe.
My favorite thing in moviemaking is to shoot in chronological order if at all possible, because it just helps for continuity and all the logistical purposes. It also helps with performance and the journey of each character, but I also think it's good for the director and everyone [else] involved.
Over the years, I think, people - actors, writers, whatever - lose their frame of reference. Their frame of reference is based on somebody else who did this or did that. Performances. So it just becomes a reflection of what already works. Like a warm-up. And that's an invitation to be inauthentic.
I spend a few minutes in meditation and prayer each morning. I find that this really helps me to start the day with a good frame of reference. As part of my prayers, I thank whoever is helping me - I'm sure that somebody or something is - I express gratitude for all my blessings and try to forgive the people that I'm feeling negative toward. I try hard not to judge anyone, and I try to bless everyone who is part of my life, particularly anyone with whom I am having any problems.
Anxiety is a really crippling condition, and I suffer with it myself, and I feel for anyone who suffers from it. The way that I deal with it is try as much as possible to stay in the moment to not think about the past and not think about what's coming up in the future: to try and just seize the moment as much as possible.
I have much respect for the people that I work with, and it's reciprocal. My shoots are always very calm. Everyone has their work to do, and we try to respect everyone's work and give them the time necessary. There's never any tension. That's something that helps to attain the simplicity that I'm looking for.
I have always considered myself a fast learner. I try to retain and absorb as much information and knowledge about the [music] business as I can. I don't want to just sit back and have other people do the hard work for me. I try to be involved in every process of my career as possible. I run my own social media, record, and try to vocal produce myself as much as possible, write my own songs, style myself, and learn the business side. If I didn't do acting or music, I was going to school for business. God has put me on this path and I can honestly say I wake up every day doing what I love.
Working on a play is a vibrant and collaborative business. Everyone from the choreographer to the music director to the director to the writers work together toward the same goal, and everyone chimes in on everything.
I try to offer as much as I can to the director so he has as much to work with as possible to create the character that, really, he wants to create in a sense.
If Vin Scully calling a game is just as good in 2013 as he was in 1963, that's the way a game should sound. If Jack Buck were around today, I don't think anybody would ask him to change his style. My style has always been a little bit of a combination of old and new, if only because my frame of reference, personally, was different than that of Ernie Harwell or Jack Buck or Harry Caray. I was a younger guy. Just as Joe Buck's frame of reference is somewhat different from mine. But the nuts and bolts of how to call a ballgame well, I think remain the same.
I try to be in the office as much as possible to get the full experience working with volunteers, making phone calls, putting out signs - things that the communications director probably normally wouldn't do.
In New York City, it's popular. I used to think to myself, 'Man, there's a lot of gay people out here.' And it had me comfortable: it was like, I can be myself! I used to still try to hide it, until it was really overwhelming - there were just too much girls attracted to me!
I just love working with actors, and I love working with writers, working with designers. I feel that I am just a storyteller, and whether I am wearing the director hat or the playwright hat, it doesn't matter. And the rooms I tend to be in are pretty democratic, and the best idea wins.
The interior deprives men of their senses. Here, the eerie stillness of the wilderness and the darkness of night render the men both deaf and blind. Without eyes or ears, they have no frame of reference-and without a frame of reference, they have no clear identities.
It's a complete life change when you really want to better yourself and completely change the patterns that you have had in the past. Do I think I still need work? I think everyone needs work. I just keep working on myself.
I don't think it's necessary to be an actor to get great performances out of an actor. But I do think it helps me as a director because I know what I like as an actor, and I try to get that to the actors who I'm working with.
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