A Quote by Jacqueline Fernandez
When I look at offers, I think about the entire package and how it is going to work in my favour or how it's going to project me.
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When I create a song, I immediately think about what I'm going to wear when I perform that song. I think about the music video treatment and about how I'm going to look on stage when I perform the record. The connection is so obvious that it's a single package. An outfit, to me, is almost a tool to express the music.
I think everyone is always asking themselves, How is my work meaningful, how is my life meaningful? As I get older, I feel like who I am as a person and a citizen is more important than who I am in my work. But I do think it reframed slightly for me, how much I have to care about a project in order to want to do it. Sometimes, obviously, you have a take a job for money. But I think I'm quicker now when I get a script that's, say, borderline misogynist, I'm not going to go in for it. I'm thinking more about what I'm putting into the world.
I think football is a lifestyle more than anything. It's how you eat, it's how you sleep, it's how you conduct yourself. It's just everything you do you have to keep in mind, is this going to help or have a positive impact on how my practice is going to be, how my workout is going to be, how the game is going to be.
It's crazy. I don't know how I'm not dead. People think I'm going to get punched in the face: "Something terrible is going to happen to you. You're going to get killed." That's not what's going to kill me. The show is going to kill me. The work is going to kill me. Once I'm on the street, I'm not worried about that.
I'm going to keep talking about what I think is interesting for my entire career. If you want to hear about how women do a lot of shoe shopping or how being married sucks, go see the guy who does jokes about that. But if you come to see my live show, there's going to be 20 minutes on religion for the rest of my life, probably. If that makes me a caricature, so be it.
When you work for long, you know things about your craft, but how differently you are going to project it so that it can still look new is what I am constantly trying.
The way that I sort of direct the writers is, let's do the best story we can. Let's not worry about production issues. 'How much will that cost? How are we going to shoot that?' Let's not set up those constraints on the writing. I don't think it helps the project to work like that.
When I talk about how we're going to pay for education, how we're going to invest in infrastructure, how we're going to get the cost of prescription drugs down, and a lot of the other issues that people talk to me about all the time, I've made it very clear we are going where the money is. We are going to ask the wealthy and corporations to pay their fair share.
Maybe it was just me shorting myself to hedge my expectations. As a fan, I was excited about the project. If you look at the body of work for the people involved, I was excited about the project, but I didn't really know. There were people saying, "I think we're going to be part of something huge."
It's one thing to work women into your talking points. It's another to tell them how you are going to educate their kids, how you are going to ensure they get health care, how we are going to rebuild infrastructure, how they are going to get equal pay.
I think it's probably true that creative people are touched by melancholy more than the average person, and to the extent that delving into that shadow world produces good work, I'm all for it. But I think you have to be able to step back from the work, and say, "Look how miserable I felt. Look how beautifully I wrote about it. Now I'm going to get an iced coffee and chat with a friend." Writing should be a way out of despair.
You find a story - or more importantly, you find some characters - that you want to be around as a filmmaker. The style and how we're going to shoot it and how we're going to design it and how it's all going to feel and look depends on that story. They tell me how I should shoot it.
People say people who spend too many years in prison don't know how to act when they get free. I don't know how I am going to act, how I am going to kill time, once I am not a fighter. Retirement scares me, and I have to think about how I am going to handle it.
I'm trying to learn how to listen to people and how not to think that this is all I am. It's not going to change the fact that at home I'm going to put away the clean dishes, and I'm going to have to be nice to my siblings. It encourages me, but it doesn't define me.
I try to just be open to what the next experience is and how it makes me feel, just reading a project, or trying to get involved with a project, or thinking about a project, and what particular emotional flavor that brings. To me, it's never really about planning the next thing, or the career arc. It's about investigating how I feel, from project to project, and finding things that I haven't explored and what that would be like.
For some reason, juggling things makes everything work better. That's just how we operate. It just makes the other project more of something to look forward to. I think the more you keep things going, the more it helps the other project.
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