A Quote by Ian Ziering

When I read the scene where I'm actually chainsawing my way out of the belly of a shark, how could a guy turn that down when that's in the job description? — © Ian Ziering
When I read the scene where I'm actually chainsawing my way out of the belly of a shark, how could a guy turn that down when that's in the job description?
Well first of all, I think the phrase 'jump the shark' has jumped the shark. I read it in every article and I think that when Fonzie actually jumped the shark, 'Happy Days' was on the air for another five years.
You never know how things are going to turn out in a movie. You can imagine a scene one way, and it can turn out to be completely the polar opposite of what you expected. You just have to roll with the punches.
Whether it's one scene or 15 scenes in a film, whether it's the lead or a cameo part, if I don't find it interesting, I tend not to do it. You never really know what it is. It could be a one-scene part. I remember I read the one scene in Crash and was asked to do it. I was like, "Absolutely!" There's no formula for how something has to be. I always try to keep it that way.
It's so not sexy and intimate. There are 40 people in the room. There's a guy with his belly hanging out, with a boom in your face. It's really very technical. I think doing a love scene is tougher than doing a fight scene. It's so staged and you can't put light on her face and you have to hit the mark.
I guess maybe I was hired to play in the Doll House because of my dinner scene in The Sixth Sense, which has been scrutinized a thousand times as to whether you know Bruce Willis is dead, or whether I'm talking to myself. I think that maybe if that could be my forte, to do a scene and be able to say it could be read this way or that way.
Going from 'Shark Night' to 'Piranha,' a guy holding a fish on a stick in front of you that they're going to replace in post-production, it's a lot different than seeing this animatronic shark that, if you get caught up in the moment, looks, acts and you sometimes think could be real.
If you see me when I first burst onto the scene, you see how quickly I could turn for a big lad and how fast I was up and down the pitch. Then I started picking and choosing my time to go forwards because I was scared of my hamstring going or my knee not dealing with it.
One job I did turn down was 'How I Met Your Mother.' My character was 'creepy gay guy.' That was the character. The script said, 'Creepy gay guy gets in elevator every day with Jason Segel character and he's just being creepy.'
People come to me and say, 'What'll I do if I go in the water and see a shark?' You don't have to do anything. The chances of that shark attacking you in any way is so remote. The sea should be enjoyed, the animals in it. When you see a shark underwater, you should say, 'How lucky I am to see this beautiful animal in his environment!'
Your job description as a journalist is to question and scrutinize critically-neve r to repeat claims uncritically, no matter how highly placed the sources in the bureaucracy. Don't ever forget that. You're a damn good writer, but that talent is completely worthless if you forget your job description.
Psychology is the description of the reflection of the terrestial world in the heavenly plane, or, more correctly, the description of a reflection such as we, soaked as we are in our terrestial nature, imagine it, for no reflection actually occurs, only we see earth wherever we turn.
I wasn't surprised at all. In fact, I thought, why stop there? Why not add the Big Show, or Chris Jericho, or the whole state of Nebraska for that matter? And don't you think a wrestling ring is a little old school, Lilian? Why not put the match in a shark tank, with real live sharks? Hungry sharks! And the only way to beat your opponent is to stuff him down a shark's throat, and pin the shark. Wouldn't that be a hoot?
I still take way more jobs than I turn down, and the reason that I turn down a job is that I just can't find anything in it that charges me or excites me or challenges me about moving to the next phase of where I'm headed.
When you read a play, the words speak to you. When you read a script, there's no way you can tell if that's the way that movie will turn out.
In some weird, warped way, I'm actually convinced that if I got mugged, I could probably take out the guy.
When I'm actually assembling a scene, I assemble it as a silent movie. Even if it's a dialog scene, I lip read what people are saying.
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