A Quote by Gus Van Sant
I try to shoot the first rehearsal because people are more spontaneous. People in real life don't really know where they are going to be either positioning themselves or how they will be saying their words. When people goof during the first take, it usually looks realistic.
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I'm definitely seeing more and more new people at shows, which is exciting. It's nice for me, because it's a fresh start. I don't feel as obligated to play old favorite songs - it feels like I'm free to try new things because I'm meeting people for the first time. But there's a lot of people who are showing up and they know all the words to the first album and they're requesting songs from the second album.
In cinema people are always walking into something and saying this is who I am, what I want, and how I'm going to get it and we don't in life - particularly not in public situations. People might know your first name, not your last name, they don't know what you do, and you're not going to offer it up. So if you start there and you realize this is a much more normal presentation in a film then you would ordinarily have; you know that there is a big life behind what everyone presents and that I think is super interesting.
As to the "traditional filler of twenty-first century realist fiction," maybe that is something I avoid. I don't relate to standard psychologizing in novels. I don't really believe that the backstory is the story you need. And I don't believe it's more like life to get it - the buildup of "character" through psychological and family history, the whole idea of "knowing what the character wants." People in real life so often do not know what they want. People trick themselves, lie to themselves, fool themselves. It's called survival, and self-mythology.
I've never been the battle guy that people perceive me as. I don't even want to battle. I take it to the people, man. I say what I got to say. You know what I'm saying? I'm like the guy that has the gun and shoots you when you try to rob him, you know? I don't really pull out the inches and try to shoot the brothers.
One of the things I've found really interesting about the show is that a lot of people really relate to our animal characters, more than we thought they would. Part of that is, because they are animals, people project themselves onto them. If BoJack just looks like Will Arnett, people go, "Oh, I know who that guy is. That's a Will Arnett type." But because he's a horse, people can go, "Oh, I'm kind of like him in some ways."
As the first woman to win Album of the Year at the Grammys twice, I want to say to all the young women out there, there are going to be people along the way who will try to undercut your success or take credit for your accomplishments or your fame.But if you just focus on the work and you don't let those people sidetrack you, someday, when you get where you are going, you will look around and you will know that it was you and the people who love you who put you there. And that will be the greatest feeling in the world. Thank you for this moment.
I usually arrive at the first rehearsal with a vague memory of most of it. But the real work happens in rehearsal, oddly enough, because what happens is that you match the words to the movement, and once you know where you're moving, then the words that accompany that movement become not locked into your mind and your brain and your whole body.
Because if you remember - and people forget this - the first two years of Game of Thrones everybody was going, "I don't know what's going on, but I really like it." And you really didn't know what to make of a lot of people, and now it's changed and people aren't really talking about that. Now it's like you're watching West Wing or Friends, you know the characters and you're like, "What in the world is going to happen?"
A lot of people don't really understand what rehearsal's about. People are afraid they're gonna leave it in the dressing room, or you're gonna shoot your wad in rehearsal.
In real life, people fumble their words. They repeat themselves and stare blankly off into space and don't listen properly to what other people are saying. I find that kind of speech fascinating but screenwriters never write dialogue like that because it doesn't look good on the page.
One of the problems, and it's one which is obviously going to get worse, is that all the people at the party are either the children or the grandchildren or the great-grandchildren of the people who wouldn't leave in the first place, and because of all the business about selective breeding and regressive genes and so on, it means that all the people now at the party are either absolutely fanatical partygoers, or gibbering idiots, or, more and more frequently, both.
I tend to avoid melodrama. I try to create very realistic settings and very realistic experiences and realistic responses to these experiences. Melodrama is the use of really big events that may or may not happen in real life - certainly they do, but they're not events that are common to most people. Most of the things that happen in my novels are things that could happen to people in real life.
I realize I have a lot of amazing opportunities, but I don't know how you can play a human being going through real human experiences without being able to walk down the street. If you can't live a real life, how do you play a real person? It always confuses me when actors work back-to-back-to-back with no break. If you live your life on a film set, how the hell can you relate to real people? You don't know what its like to not have people fussing over you all day, and that's not life - that's silly movies. I will always want to take breaks and I wouldn't be OK with losing that.
When I'm improvising, I'm out of my head. I've done a lot of projects recently where there hasn't been a script. It's all been based on outlines. At first, that's terrifying, just because you don't have the words in front of you and you don't know how it's going to come out, but that's what's really exciting about it. You don't know what's going to happen. It really forces you to listen to the other people, and I think the most natural acting comes out of that.
I shoot a lot of video, first of all, whatever I think is interesting, just my travels; hard to say why. If something looks good, I take a picture or try to shoot it.
A lot of people don’t just go ahead and try things. They’ll have an idea and they’ll say — they’ll convince themselves or other people will convince them that it can’t be done. You know, one or the other. Actually I think that the first is even more dangerous and more serious. It’s convincing yourself that it can’t be done.
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