A Quote by Garry Winogrand
I develop my own film. And I work in spurts. I pile it up.
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Film is my hobby, so I will work well through the night to develop films, whatever film I'm doing or dream projects I have.
Pile the bodies high at Austerlitz and Waterloo. Shovel them under and let me work- I am the grass; I cover all. And pile them high at Gettysburg. And pile them high at Ypres and Verdun. Shovel them under and let me work. Two years, ten years,and passengers ask the conductor- What place is this? Where are we now? I am the grass. Let me work.
A neighborhood friend showed me how it was possible to go to a camera shop and pick up chemicals for pennies... literally... and develop your own film and make prints.
I work hard, but in spurts.
I know that it's axiomatic in the film industry that you're not supposed to let the novelist develop their own story. Well, first of all, that's kind of up to the novelist - because they don't have to sell it. But also, I don't believe it. It's about trust.
Your film is like your children. You might want a child with certain qualities, but you are never going to get the exact specification right. The film has a privilege to live its own life and develop its own character. To suppress this is dangerous. It is an approach that works the other way too: sometimes the footage has amazing qualities that you did not expect.
Hating hard work can get to be such an obsession that you won't let it pile up.
I want to do theatre and film and direct my own things and develop.
Whether I build a character from the ground up or develop one, whether within my own copyright or in licensed work, I can step into that character's mind. It takes a kind of voluntary dissociation akin to method acting, military planning, marketing, or detective work: to think like the other guy and work out what he's going to do next.
When you pick up injuries, you put yourself to the bottom of the pile for a bit and have to work yourself up.
I envy people who can think, 'No, I'm not going to work today' when they have a huge pile of deadlines stacking up.
My father calls acting 'a state of permanent retirement with short spurts of work.'
I have seen this whole process of films releasing, becoming hits or flops, for too long now to expect things to do well. If I expect a film to do well, then it is for somebody else's sake, not for my own. I do my work, and if you feel that my work is improving from film to film, then I have done my part of the job.
Every film for every actor is a make-or-break film. I believe every film has the power to break you or make you. So, an actor will treat every film like his last film. That's the way we need to work, and that's the way you can drum up that passion needed to do good work.
Chicago was where I realized that improv is its own thing, its own art form. And through that, you kind of develop a work ethic of not selling it short.
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.
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