A Quote by Henry Selick
I get rewarded virtually every day with something amazing to see - whether it's a new shot, a miniature sweater, someone who's figured out how to make the hair look really great. We found a way to do the rain, finally. And mud. Make the trees. So I get to stay in constant motion as a director, you know, reviewing things. And there's a lot to review.
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People see your life on social media, and they say, 'Oh my gosh, it's perfect,' and I'm like, 'No, every day, it's not even just a struggle: it's something new, and it's a new challenge to make sure that I'm mentally stable and healthy and that I'm okay.' It was just great to finally get it out and talk about it.
I'm 53, and it's hard to get to the gym every day. If I know on Friday I'm going to be wrestling, then I don't want to look bad, so it gives me motivation. Plus, once you're in motion, it's a lot easier to stay in motion.
I just want to go out and play the right way, make sure I get my teammates the ball and then also bring the energy on defense. That's something that I know I can do each and every game, whether my shot's falling or not.
I have the advantage of having found out how hard it is to get to really know something. How careful you have to be about checking your experiments. How easy it is to make mistakes and fool yourself. I know what it means to know something.
I don't really enjoy working in TV, to be completely honest, even though it's incredibly lucrative, I'm just terrified of not being satiated in a myriad of different ways. It's amazing that I get to create every day, as an actor, or a director, or a writer, and I get to do it in a variety of different genres and worlds and characterizations. I think that's the great privilege of what we do, we get to make believe. I get to go to so many different places, try on different occupations, take on different points of view. That's what's always been sort of alluring.
If you don't know where you are going, then how will you get there? VISUALISE! Make pictures in your mind. See the desination. Imagine your arrival. Dream in perfect detail. See yourself the way you want to be when you arrive. See yourself arriving. Make yourself a road map and study it every day until you know the way and the destination by heart.
For so many years, I was trying to beat my hair into submission, trying to get it to look like someone else's hair, and I didn't know how. I remember going through a phase where I even put beer in my hair, because I was told that would make it smooth and curly.
When Fashion Week ends, I miss the shows and the shot of adrenaline that comes with them. Each day is a new show, a new fitting, and you make new friends. Every season you get to know the other girls a little better.
A lot of things get made this way: someone imagines what they want to make, then very carefully plans every step of the process, then sets about making it. That's usually the efficient, reasonable way to get something done, but it limits you to ideas you can think of in advance.
When I was younger I didn't really know what a director did: I knew I loved movies and I figured the actors made it up! And then when you get to 12 years old you start thinking, What does a director do? It was really an organic beginning: this looks like something I want to do, I can't believe people get paid to do it!
I always wanted to make motion pictures, ever since I was a wee boy, and I was 32, and time was marching on. I met a guy who said, 'Come out to Hollywood for 10 days, and I'll get you a deal.' So I figured, 'OK, 10 days.' On the 10th day, he got me a development deal with Disney, not for a lot of money, but it allowed me to make the move.
My teachers believe that the creative producer's job is to service the vision of the director, to stay within schedule and budget, and to get the studio what they need, but you work for the director to get their vision on the screen. That's not how everyone approaches producing, but it is certainly how directors like you to approach producing. How I was brought up is that my job is to help you make the movie you want to make.
On 'Queer Eye,' I really get to see the way someone lives. They know the Fab Five are coming, but they don't know when or how, so our producers make sure they don't clean up so that we can experience exactly how they normally live.
I mean, just like every other prominent songwriter or producer, you have the shot. You send in records and if they make it, they make it. If they get heard, they get heard. I'm not sure if you know how that circle of songwriting and producing works, but every time a big artist is working, everybody and their mother is in the studio writing records to try to get on it.
When you've got four people to get dressed to get out the door, you don't really tend to spend a lot of time on yourself. But that's the way I roll anyway. I was never one to do my hair and make-up just to go down to the market, so it's really not that much different. If I get a little eye cream on, I feel like I'm ahead of myself.
Well, outside of the tone, the big thing that I gained from working on horror film was how to shoot really quickly with no money. I learned how to be able to go into a production and know exactly what shot I need to get and how the shot needs to look and what performance I need to get out of the talent at a very quick pace.
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