A Quote by Eran Kolirin

I'm a complete control freak. We worked a lot on the pace and where to put the silences. We choreographed the gestures and movements. We had a lot of rehearsals and a lot of takes. Also, there's something special that comes out of those two actors: he's water and she's fire.
I have worked with Salman a lot of times and have choreographed him earlier also. He doesn't do rehearsals; he never comes for that. He is the only actor who has never opened the door for rehearsals.
That's what I love - on 'The Farewell,' we played with a lot of silence and a lot of negative space, and I really worked with the composer to create those juxtapositions of like, those awkward silences and when something comes in.
You know a lot of what worked on this was taken from Harry Potter 2, the little Doby character, we had a lot of our skin stuff worked out and that helped a lot. We have a lot of exchange happening.
I rode fire trucks, slid down fire poles, wore a lot of red, and made a lot of appearances. I've always had a special place in my heart for fire fighters.
When push comes to shove, I'm a fighter, and I'm going to force someone to fight. It takes a lot of technique, it takes a lot of skill, but to take that, and make something of it, it's a lot of heart and a lot of determination, and that's something I have. That's who I am.
I learned a lot from Clint [Eastwood], who's an extremely economic director. I learned a lot from Michael Winterbottom, who really gave a lot of trust in the actors and allowed them to live in the space instead of trying to manipulate and make it too set and too staged. Working with [Robert] De Niro taught me a lot of being an actors' director and what that is. I've learned a lot from pretty much everybody. Hopefully I've picked up something from everybody I've worked with.
'Smallville' was one of those things where we worked a lot of nights, and there were a lot of physical scenes. I was hurt a lot, but I loved it! The 'Revenge' cast was also one of the greatest, most gracious casts I've ever been a part of.
There is a lot of uncertainty in this industry, and you can create your own opportunities and take control of that, but that also takes a lot of time.
I had a lot of great bosses - I worked for Gina Prince-Bythewood for two years, I worked for Ava Duvernay as a PA on her first narrative film, and I worked with Mara Brock Akil, so a lot of wonderful role models.
At the end of the day, I think that a lot of people saw how hard I worked. And I've gained a lot of respect from a lot of the fans, when they come out and see me, even people not from the United States, when they come out there and cheer me and give me heart gestures and cheer for U.S.A.
If you think about the energy that a rocket engine has to put out and all the fuel and you're sitting on top of like a bomb. And on the Space Shuttle, that big orange tank is filled with liquid hydrogen and liquid oxygen, the white cell rocket boosters on the sides are filled with solid propellant. There's a lot of energy in all those chemicals there and you've got to control it in a way so it doesn't explode. So, there's a lot of plumbing, a lot of valving, a lot of control systems, and it's a very complicated thing. So, how do you bring the price of that down?
I started out as a producer. and I used to work at Disney. and I worked with a lot of the animators and went on to become great friends with a lot of these guys and worked on a lot of projects together.
I had obviously a freak injury right when I got there and there's a lot of things that were kind of out of my control when I was in Boston.
What's nice about a lot of Wes Anderson's films is that there's a patience to it. I think that patience brings out a lot more funny things that you would miss otherwise if you just had to make quick cuts and keep the pace, whatever that pace is that bigger budget comedies have to have.
I remember when we were in rehearsals and we were going through it because we rehearsed before we went to Toronto, and it's more of the same. She and I had to deal with a lot of stuff in this movie and we really have to take ourselves there. It actually started in rehearsals, and just revisiting that piece of it all. Just the way Monica is and what she says and the way she looks at me, it really affects me throughout rehearsals and throughout the scenes.
I've put a lot of records out and a lot of soundtracks, and 'Hannibal' is kind of a special one.
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