A Quote by George Blagden
When you start working on screen, a lot of the time it can feel like you're just trying to make sure that you're not bad.
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I often do crazy siren noises, or, like, a high-pitched dolphin, just to make sure that all my range is there. I make random noise and blurt out random sounds, to make sure I get rid of any bad nerves. I want to make sure to feel as confident as possible.
I might spend 100 pages trying to get to know the world I'm writing about: its contours, who are my main characters, what are their relationships to each other, and just trying to get a sense of what and who this book is about. Usually around that point of 100 pages, I start to feel like I'm lost, I have too much material, it's time to start making some choices. It's typically at that point that I sit down and try to make a formal outline and winnow out what's not working and what I'm most interested in, where the story seems to be going.
I feel like I need just to keep trying to make the work for the right reasons. I think part of that is working with really good people, and just trying to make strong truthful work. And not being diverted from that.
In my early work, my time in the batting cage, that's serious, and that's when I feel like I'm really working. That's where I have to lock in on my approach, make sure my mechanics are right, and make sure my mindset is right for the upcoming game. But then, when the game comes up, it's a game! You're supposed to have fun when you play games.
He's been a top player for the last 10 years, and we all work on our swings, we all change things. We keep working and then we're trying to get better, and sometimes you get worse trying to get better. You've just got to give it some time, be patient for it to turn around, and when it does turn around, you feel like you can start winning again.
Balance is a tricky thing. I love my work and that helps. And I work a lot. So I spend a fair amount of time trying to make sure I'm taking time off, exercising, meditating and things like that. I also have a powerful support team (including my partner, Kelley) to keep me grounded. I don't always feel like I have the balance I want, but I have awareness about it, which I think is key.
I never feel bad. You can't feel bad - you have to just make the best decision you can at the time you're in and be like, 'That's the decision I believe in.'
I feel like when I'm working and when it's not my time off, I like working out alone because it's kind of like that time that my mind gets to just shut off and I can just focus on working on being a better boxer.
I'm not trying to become a pop artist, and I'm not trying to make sure I stay a country artist. I'm just trying to make sure I make the best music I can, according to my way.
I just wanted to make sure that what I write is what appears on screen, to not have some idiot change it on its way to the screen.
It's hard being a woman in this industry, period. A lot of the time, guys make you feel like you need to hook up with them - especially as an artist - producers and other artists trying to collaborate with them, they make you kinda feel sometimes you need to hook up with them or flirt with them just to make a song.
I have kissed in almost all the films except in 'Once Upon A Time In Mumbaai.' I'm not sure if my kissing on screen has anything to do with the success of a film, but producers make sure to put a kissing scene or two. They feel my kissing scenes are my lucky streak.
'Screen time' is meaningless - what matters is what you do while on the screen. The good, the bad, and the ugly faces of screen time will all have to do with which activities you engage into.
We spend a lot of time and effort trying to figure out who's going to be a good NFL quarterback, and we do a very bad job of it. We don't really know. And we also spend a lot of time trying to figure out who will be a good teacher, and we're really bad at that too. We don't know if someone is going to be a good teacher when they start teaching. So what should we do in those situations in which predictions are useless?
As a writer, as a lyricist, you're just trying to make sure that you're not repeating yourself. And that's a danger for a lot of people. So for me, I just try to keep taking corners and trying to find new paths.
A lot of the people I'm working with are not actors, or it's their first time in a movie. I'm not trying to shape performances, coax performances out of them. It's more like I want to put them in situations that naturally work or allow them to be themselves. If it's not happening, I'll just completely switch it up, rather than trying to make it work.
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