A Quote by Hyun Bin
I can never focus on a film because I'm conscious of my performance.
Related Quotes
Focus on performance. Outcome is going to happen. No stress about that. Focus on performance.
I've never been in a business where safety performance was excellent and the business performance was not, so they go hand in hand, and for me, safety performance is an indication of discipline, of focus and of how joined up an organisation is.
I've never been in a business where safety performance was excellent and the business performance was not, so they go hand in hand, and for me, safety performance is an indication of discipline, of focus and of how joined up an organization is.
If I focus on being an activist and my job is to be a rapper, I'm not going to be as good of a rapper. I need to focus on hip-hop and focus on making the music, so that when the activists come to me and they need my voice to create a platform, then I've got enough people listening to me. Not because I'm conscious, but because I'm dope.
In the theater, actors are the essential element of the work. In a film, it's a real collaboration - not that theater isn't, because it is - but it's a collaboration to such an extent that you can give a performance in film that sometimes you look at and you go, "Well, that's not the performance I was trying to give at all."
I started using film as part of live theatre performance - what used to be called performance art - and I became intrigued by film.
Most people move actually into high performance in a crisis because that creates the kind of focus that creates high performance.
What do I bring to a film? I think, maybe, I know for a fact that I focus on connection of character; I focus on warmth and a heart, but I don't know if it's because I'm African American or because I'm crazy -who knows.
Leadership Is Performance. You Have To Be Conscious Of Your Behavior, Because Everyone Else Is.
When you are acting in a film, you have no idea what scene the editor is going to choose. For instance, after you have directed, you feel more comfortable delivering a performance. Because you know the real performance is put together in the editing room.
In a film like 'Kannathil Muthamittal,' I can't have a Rajnikanth or a Kamal Haasan. If you have a star, the expectation of the film is different. So, you cast according to the subject of the film. Some films are best done with stars because it gives you a base on which if you can get the correct performance, you can reach higher.
Psychologically, the choice "to think or not" is the choice "to focus or not." Existentially, the choice "to focus or not" is the choice "to be conscious or not." Metaphysically, the choice "to be conscious or not" is the choice of life or death.
I always get self-conscious about what I look like in a film, but less so if I'm a character very far removed from who I am. Then I just worry about the performance, and that's equally an odd experience.
I use [Heraclitus' discovery of] enantiodromia for the emergence of the unconscious opposite in the course of time. This characteristic phenomenon practically always occurs when an extreme, onesided tendency dominates conscious life; in time an equally powerful counterposition is built up, which first inhibits the conscious performance and subsequently breaks through the conscious control.
I wanted to do a film for a while, but I never found a script that I felt I was going to be the right person for; because if you've never made a film, you're not taught how to make a film, and you feel like you lack skills.
There is something about the live performance of an orchestra that makes it very different to a film. With a film, you can rewrite it in a way with the material you have, and in rehearsals, you're really trying out different things. In an orchestra, you can't do that. They separate as soon as the performance factor comes into play.
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