A Quote by Greg Wise
I think you must be running away from something pretty enormous if you don't want to see a person more than once or twice. I think relationships don't get interesting for quite a while. When the initial heady rush fades, that's when it gets really exciting.
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I think in Japan I think there is a lot of style and a lot of subcultures, but it will be interesting to see how much of them... how much of the people wearing those clothes are really expressing something about who they are or who they want to be and it will be very interesting to see, especially once you get there, once you get to a certain city like in Stockholm you really get to know the people a little bit and what they're saying through their clothes. It's more... To me I think it's much more interesting than just the clothes they're wearing or the length of the skirt.
I understand, certain scenes have to have a lot of takes. As an actor, I think it's quite nice to have a handful of takes, because you don't want to do it once or twice; I think once or twice sometimes is quite terrifying because you don't really feel like you've given them what you want.
It is actually quite exciting when you're flying headfirst into a barrier — the initial part, the initial part is actually quite fun, especially when you hit the gravel trap and you get some air, and then you see it coming and you think 'erk — it's gonna hurt!'
Each person comes to have this musical experience, this moment with us, where they get to sink into our world for a little while. It’s this very unhurried world. It’s fairly quiet, it’s contemplative, but it can be quite panoramic. I think people think interesting thoughts at our shows, and they go rather deeply into some personal experience of their own. I’m really proud that our music seems to connect, because it’s not for everybody. But for the people that our music works for, it really gets down pretty deep in there.
And if I'm running away from something, I try to make myself face it and overcome that initial fear. As a director, I don't think it's possible to make a movie that you really don't want to make.
Once a piece of writing gets to a moment where it's not going to get much better than it already is, marinate it. If you still like the piece, send it out and see what others think. If not, it's time to put it away and forget about it for a while.
Maybe I'm wrong because I've not met the person yet, I really don't think I'd want to be with someone in the industry. I really don't think so. Once bitten, twice shy.
I do think that there is something about an intelligent, strong woman who also needs to be taken care of that will attract a certain kind of man sometimes. And that relationship is interesting on screen. Bad relationships are more interesting than good relationships to watch.
The mistake many people make when they go to a bespoke tailor is they often think they need to do something special - either an interesting design feature, or a particularly interesting or unique-looking cloth. I say do the opposite. Stick to something really simple, because this will be a suit that you will really want to wear, so start with something very straightforward and you will get an enormous amount of joy wearing it.
I never felt pretty. I don't feel pretty now. I'm not a pretty person. I don't like pretty. So I don't feel badly. And I think it worked out well, because I found that all the girls I know who got by on their looks, as time went on and they faded, they were nothing. And they were very disappointed. When you're somebody like myself, in order to get around and be attractive, you have to develop something, you have to learn something, you have to do something. So you become a bit more interesting.
I think sometimes people become quite emotional about the characters as well, and that's pretty cool that you can get that emotion out of people. And I think that's more my motivation than like, "Hey I want to be the funny guy, I want to be that famous funny guy." That doesn't sit as well with me as the idea of taking people on this ride and taking them into the illusion of the characters. That's much more exciting for me.
My mum was critical in getting me to recognise very early on that although what I was doing was pretty serious, quite selfish, and probably to most people pretty obsessive, there actually was more to life than running quickly twice round a track.
People don't want to pay for pitches. They want to see it. If you hear one more time, "Well, that's execution-dependent." Everything's execution-dependent! If there's something that's going to be a little bit more interesting than The Untitled Slinky Movie, then I think that writers that want to do interesting work and at the same time commercial work need to put it down on paper. So agents and producers that writers are working with are encouraging them to get it on paper because the studios like to see what they're buying rather than just imagine what it could be.
I find that when I come upon something that I think is a historical revelation, I have the sort of adrenaline rush that I imagine a gambler gets in Las Vegas when he hits the jackpot. It's still tremendously exciting to me, and I think all of my peers in the business feel the same way.
Every once in while, a person will do something obvious and direct that is no more than it appears to be. I think they do it to throw you off.
There is always the risk: something is good and good and good and good, and then all at once it gets awkward. All at once, she sees you looking at her, and then she doesn't want to joke around with you anymore, because she doesn't want to seem flirty, because she doesn't want you to think she likes you. It's such a disaster, whenever, in the course of human relationships, someone begins to chisel away at the wall of separation between friendship and kissing.
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