A Quote by Fahadh Faasil
If I do a film, I go to the place where it is based on, interact with people, and then, I believe, you pick up things without you even noticing.
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When we interact with others from a place of compassion without expectations, things are set up to go pretty smoothly.
I cannot find any patience for those people who believe that you start writing when you sit down at your desk and pick up your pen and finish writing when you put down your pen again; a writer is always writing, seeing everything through a thin mist of words, fitting swift little descriptions to everything he sees, always noticing. Just as I believe that a painter cannot sit down to his morning coffee without noticing what color it is, so a writer cannot see an odd little gesture without putting a verbal description to it, and ought never to let a moment go by undescribed.
You start noticing that people are noticing how you look, and it is a profoundly alienating experience when it first happens, where you go on TV and you say something about some topic of the day, and on the Internet people are like, 'What was up with that shirt?' 'What was up with your hair?' And you think, 'Oh, that's kind of a bummer.'
We've all had stress creep up on us without even noticing it until we lost it on someone who didn't deserve it, and then we realize that we probably should have checked in with ourselves a little earlier.
I truly believe that to stay home, to learn the names of things, to realize who we live among . . . then I believe a politics of place emerges where we are deeply accountable to our communities, to our neighborhoods, to our home . . . If we are not rooted deeply in place, making that commitment to dig in and stay put . . . then I think we are living a life without specificity, and then our lives become abstractions. Then we enter a place of true desolation.
I used to believe that it was not possible to lose someone I loved without sensing it somehow, without feeling something shift. But it's not true. People can die, sometimes the closest people to us, without us noticing a thing.
On nights like this when the air is so clear, you end up saying things you ordinarily wouldn’t. Without even noticing what you’re doing, you open up your heart and just start talking to the person next to you—you talk as if you have no audience but the glittering stars, far overhead.
I pick up energy really easily. Even if I go to the grocery store, and no one is paying attention to me, I can pick up other people's moods, and it's really intense.
On stage, there are hundreds of people watching you. It's so much energy directed at you. I pick up energy really easily. Even if I go to the grocery store and no one is paying attention to me, I can pick up other people's moods and it's really intense.
When somebody comes up with a progressive idea, to begin with, you're mad, bonkers. Then if you go on, you're dangerous. Then there's a pause. Then you can't find anyone who can say they thought of it in the first place. That's how progress is made. This is why I do believe in the vote. In the end, all these people who've been tempted to the right realise the warning lights in their constituency are brighter than the bright lights from No. 10 offering them things.
I think a lot of people go into filmmaking thinking, "How can I make a career?" And so when they make their first film, they make it thinking, "Well, this'll be the one that gets me to the place where I can make the second film the way I want to make it, and that'll get me to the place where I can make $100 million on the third film." And I thought, "Well, if I put sustainability at the bottom of my priority list, then what opportunities is that going to free me up to pursue?" And that's what I've always done.
In film, movies' schedules are based on three things: actors' availabilities, when are sets being built, when you can rent the place you're going to film in.
If you go around a time when you're hungry, around mealtime, then you have a desperate search to find something to eat and you have this interplay between approach and avoidance. You go in a place, you smell, if it doesn't smell so good you go to the next place, you look at all the people, they're happily eating, and then you choose that place. So having to reconnoiter, having to go on a kind of treasure hunt for food is one of my favorite things.
In film, movies schedules are based on three things: actors availabilities, when are sets being built, when you can rent the place youre going to film in.
Usually we have pick-up shots to film after all the main work is done; sometimes we even do them after our wrap party. Just like when you're packing up and moving, it's the little things that end up taking the most time, and there is no romance in the clean up.
When I meet people, I relay things I see and feel. And in a reading when I interact with a person, I'll pick up on sensations and feelings and piece them together to make a coherent thought. My goal is to always get specific information and relay details that people will connect to.
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