A Quote by Eddie Redmayne
I suffer from a more complex, persistent fear. It manifests itself in nerves, and on film the camera sees even the tiniest evidence of this. So you have to learn that when the director calls 'Action,' you don't go to this place of tension, but somehow you become free.
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Because the writer must be a participant in the scene, while he's writing it — or at least taping it, or even sketching it. Or all three. Probably the closest analogy to the ideal would be a film director/producer who writes his own scripts, does his own camera work and somehow manages to film himself in action, as the protagonist or at least a main character.
The writer must be a participant in the scene... like a film director who writes his own scripts, does his own camera work, and somehow manages to film himself in action, as the protagonist or at least the main character.
When we have anger in us, we suffer. When we have discrimination in us, we suffer. When we have the complex of superiority, we suffer. When we have the complex of inferiority, we suffer also. So when we are capable of transforming these negative things in us, we are free and happiness is possible.
Every time I go in front of the camera, I have this fear of 'Oh my God, how am I going to tackle this? The director is going to say 'action' and I'm going to just keep standing there; I won't know what to do.' That's a constant fear I have as an actor.
I take bits and pieces from every director. I'd say Sylvain [White] and Nimrod [Antal]. They were more about teaching me lens sizes and depth of field and how to move the camera and lighting. I do want to direct and I didn't go to film school, so having a director that are very much hands on that way and looking to let me learn, that is a key factor.
There is nothing to fear except the persistent refusal to find out the truth, the persistent refusal to analyze the causes of happenings...Fear [False Evidence Appearing Real] grows in darkness; if you think there's a bogeyman around, turn on the light.
Being on a show like 'Fear the Walking Dead,' I started to learn more about camera work, learn more about the way the crew operates, and had more of a stronger opinion on how I think a television director can operate in the healthiest way.
I almost became a music major, but somehow I was so enthralled with the camera and becoming a director that I stuck with film school and theatrics.
Every belief that you hold manifests itself in some manner by either causing you to take some form of action or by preventing you from taking action. If you don't believe something is possible, you won't even attempt it.
Real Understanding manifests itself as spontaneous natural and simple action, free of the depressing process of choice, pure without indecisions of any type.
Every piece of the universe, even the tiniest little snow crystal, matters somehow. I have a place in the pattern, and so do you. Thinking of you this holiday season!
The only time I was really free was when the director said 'Action' in front of a camera or on the stage, and that's when I flew.
In Hong Kong, particularly, we craft this art for decades. The action choreographer actually is the action director. He takes over and he choreographs with - by himself or with his team, and place the camera where he feels cinematic effect to bring out that choreography.
Tension means hurry, fear, doubt. Tension means a constant effort to protect, to be secure, to be safe. Tension means preparing for the tomorrow now, or for the afterlife - afraid tomorrow you will not be able to face the reality, so be prepared. Tension means the past that you have not lived really but only somehow bypassed; it hangs, it is a hangover, it surrounds you.
The tension of a mysterious danger is even more unbearable than danger itself. People hate the vacuum of an unknown situation. They want security. They even prefer war to the insecure expectation of a war with its threat of enemy surprise. This vague fearful expectation acts on their fantasies. They anticipate all kinds of mysterious dangers; they begin to provoke them. It is the evocation of fear and danger in order to escape the tension of insecurity.
I thought all I had to do was to buy a camera and become a film director. So when I left school I worked at a telephone company, which gave me the money to buy the basic equipment including the camera, the projector and the screen.
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