A Quote by Hal Needham
Of course when you toss a stick of dynamite at a cartoon character, he can come back to life again in the next frame. Getting the same effect with actors is going to be a lot tougher.
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With movies, you come and go as an actor, especially if you are not the lead, from week to week. You don't really have a lot of time to get to know anyone, and then on to the next thing. I know a lot of actors who find fulfillment in playing an entirely new character. I like to stick with one character and create a family with the people around me.
All your life spent getting ready for the next thing. I climbed a lot of hills now. I crossed a lot of rivers. Crossed the sea even, left everything I knew and came to Styria. But there I was, waiting for me at the docks when I got off the boat, same man, same life. Next valley ain't no different from this one. No better anyway. Reckon I've learned ... just to stick in the place I'm at. Just to be the man I am.
It felt like an indulgence. Going back was painful, but, at the same time, it was nice to live with them again for a few pages. I got to live with my brother again for the entire book. Of course as I'm writing the book, I'm getting closer and closer to the end and I know what that means. I knew exactly where I was heading. It was really difficult, but it was nice to make them come alive for those scenes. It was good.
Casting is sometimes like going to a party. You get there and everybody at the party is wonderful. They're funny, they're interesting, and the next time you go to a party, you kind of want those same people there. I do find myself going back to a lot of the same actors I've worked with because it was fun, it was good and I know they can do the job. When we have tight deadlines to cast a project, that's how some decisions are made.
To try to create a character without a whole lot of information can be taxing. At the same time, it's fun to just stay on your toes and let the next bit of dialogue come in, and turn the page as you read the next script and see what they have in store for you next.
On 'Silver Linings Playbook,' David O. Russell is the master at getting his actors to give him something that he doesn't expect. He loves to keep things spontaneous. He talks to the actors throughout a take because, in real life, you don't know what the next person is going to say; you don't know when you're going to get interrupted.
The thing is the game is getting tougher and tougher and we have to ask a lot of our bodies.
When you get a typical injury, you're given a time frame; you're gradually working towards getting back. With concussions, there is not generally a time frame or a span where you're feeling better. You feel like you're getting better, and it can be one day and you're back to where you started.
We all to some extent meet again and again the same people and certainly in some cases form a kind of family of two or three or more persons who come together life after life until all passionate relations are exhausted, the child of one life the husband, wife, brother, sister of the next. Sometimes, however, a single relationship will repeat itself, turning its revolving wheel again and again.
I think a lot of actors, sometimes what happens I think is that actors finish a movie and they go, 'Oh my god, I'm never going to work again,' even big huge actors, and so they'll take something thinking that something else will never come along.
When you are writing, you have to love all your characters. If you're writing something from a minor character's point of view, you really need to stop and say the purpose of this character isn't to be somebody's sidekick or to come in and put the horse in the stable. The purpose of this character is you're getting a little window into that character's life and that character's day. You have to write them as if they're not a minor character, because they do have their own things going on.
I was naive and ignorant. I'll never be like that again. But I can't go back. I've come out. I can't stick my head in the sand ever again.
Life had a way of wrecking her careful plans, again and again. Roulette was more predictable than life. Small wonder she was so lucky at it.Life was not a wheel going round and round. It never, ever returned to the same place. It didn't stick to simple red and black and a certain array of numbers. It laughed at logic.Beneath its pretty overdress of man-imposed order, life was anarchy.
My cartoon life is in my office, and it's very separate and getting very in my own head. My television life is I'm begging one of the actors to say the line in the way I'd like them to.
The moralist and the revolutionary are constantly undermining one another. Marx exploded a hundred tons of dynamite beneath the moralist position, and we are still living in the echo of that tremendous crash. But already, somewhere or other, the sappers are at work and fresh dynamite is being tamped in place to blow Marx at the moon. Then Marx, or somebody like him, will come back with yet more dynamite, and so the process continues, to an end we cannot foresee.
I have heard about a patient - the psychiatrist was bored with him. Of course, he was getting enough money out of him, but he was getting bored by and by - three, four, five years of psychoanalysis, and the man was repeating the same again and again and again. The psychiatrist said, 'Do one thing: go to the mountains for a few days. That will be very helpful.'
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