A Quote by Giveon

I think of my body of work as a story that flows and plays in my mind like a film. — © Giveon
I think of my body of work as a story that flows and plays in my mind like a film.
I don't have the story finished and ready when we start work on a film. I usually don't have the time. So the story develops when I start drawing storyboards. I never know where the story will go but I just keeping working on the film as it develops. It's a dangerous way to make an animation film and I would like it to be different, but unfortunately, that's the way I work and everyone else is kind of forced to subject themselves to it.
I read a lot of plays as a kid, but I didn't see that many plays, so I feel better-versed in film history and film structure. I just think it's easier to think in pictures.
I believe thrillers work if the story is good. It is not easy to make a thriller because the audience is making their own story in their minds as they watch the film. You have to break that expectation and still make them like the film.
If we do not work on all three levels -- body, feeling, mind -- the symptoms of our distress will keep returning, as the body goes on repeating the story stored in its cells until it is finally listened to and understood.
Treat your body like a temple, not a woodshed. The mind and body work together. Your body needs to be a good support system for the mind and spirit. If you take good care of it, your body can take you wherever you want to go, with the power and strength and energy and vitality you will need to get there.
When I compose for any film, I always work with the story in mind.
The way that I work as an actress, I always prefer to read the whole story and tell the whole story and feel what the whole story's going to be, the journey for the audience and how it ebbs and flows, the highs and the lows.
Nakamura Tempu Sensei viewed the mind as a segment of the body that could not be seen and the body as the element of the mind that was observable. He also likened the mind and body to a stream, with the mind as the source flowing down to the body. Whatever we drop in the stream will be carried down by the current. In like manner, our thoughts will influence the body and our well being.
Plays are literature: the word, the idea. Film is much more like the form in which we dream - in action and images (Television is furniture). I think a great play can only be a play. It fits the stage better than it fits the screen. Some stories insist on being film, can't be contained on stage. In the end, all writing serves to answer the same question: Why are we alive? And the form the question takes - play, film, novel - is dictated, I suppose, by whether its story is driven by character or place.
But this mind isn't somewhere outside the material body of the four elements. Without this mind we can't move. The body has no awareness. Like a plant or a stone, the body has no nature. So how does it move? It's the mind that moves.
I don't really mind not being a part of a film - because if there is no part for me, I will never force myself upon a film. I feel like it's just a distraction. If it is not organically incorporated into the story, it just feels like a stupid appearance, like a sort of wink. I hate that.
You're in a movie, so you have to think about how something plays. It's not like you're thinking about how an audience is going to react. You're trying to present the story. You're trying to illuminate the lives of these people in the story. So I'm thinking about how my behavior as this character best illuminates what's going on with them in this moment in time. I always say it's sort of the director's job. People think that the directors direct actors. No. Really, what the director's doing is directing the audience's eye through the film.
I think people are willing to take more of a risk on an indie film, about character, etc...but at the same time, when I work on projects that are substantially bigger, in a way they do feel small. Even though the catering is way better and we actually have someone shooting with real film.... The budgets are bigger but the story still feels small, like an indie film.
The body and mind are one. When the intimate relationship between mind and body is disrupted, aging and entropy accelerate. Restoring mind/body integration brings about renewal. Through conscious breathing and movement techniques, you can renew the body/mind and reverse the aging process.
When I was shooting the film I did not see the story as an everyday tale or a social one. To a great extent, the film is a mythological look on human life. This is probably what I would like the audience to keep in mind before they enter the screening room.
I don’t mind if the character is a small character, but I would just like her to have a journey in the film. Sometimes the characters are just there as a prop to further the man’s story. The great directors I’ve talked to, I’ve said listen, I don’t mind playing a woman that is a tiny part, but how does the story affect her? What can I play in the end that’s different from the beginning? Otherwise, it doesn’t make sense, because it’s just like being a prop.
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