A Quote by James Wan
I realized that my camera work could help me in a lot of ways to put the audience in the driver's seat, so to speak, to get them in there with the action, and to get them as close and be as intimate with what was going on on-screen as possible.
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It's very difficult to get an audience to be terrified of what's going on. Think about it: You're in a room with so many other people, so for them to be terrified and to care about what's going on on-screen takes a lot of work.
Film, television, and working with a camera is such an intimate art form that if a camera is right on you, and I've got your face filling the screen, you have to be real. If you do anything that is fake, you're not going to get away with it, because the camera is right there, and the story is being told in a very real way.
When you're writing for the screen, you have to be hyper-conscious every moment of how the audience is going to react. If you write just one scene where the audience is confused or it breaks their concentration in some way, then you've lost them, and you might never get them back.
When you get out of the driver's seat, you find that life can drive itself, that actually life has always been driving itself. When you get out of the driver's seat, it can drive itself so much easier-it can flow in ways you never imagined. Life becomes almost magical. The illusion of the “me” is no longer in the way. Life begins to flow, and you never know where it will take you.
I always try to get in the back of the audience because people really want to get close to me, and I want to get close to them.
In my songs there's a lot of intimate, personality - driven, sweet singing, and that's the kind I actually love the most, as close to how we speak as possible.I do get to do the crazy high notes, of course. But that's also a part of me. I'm full spectrum. A vulnerable side and a side that wants to kick ass.
So they actually put it into their mission statement, and they start changing things as a result. They may change how worship works. They may actively recruit folks and try and get them to come and help them to feel comfortable and get them involved in leadership, and there's a variety of ways.
Being in front of the audience, letting my audience see me in person - it is real intimate, you get to make them laugh and cry, they get to feel you. And then afterward, we go out and do a meet-and-greet session with the fans. It was just a wonderful experience. I really, really enjoyed it.
I'd love to stay in baseball, but I won't beg. I'd love to work with young umpires. I think I could teach them, help them develop. I can spot flaws, help them get over the hump. You're striving for perfection every game, yet you never achieve it. If baseball wants me, I'm available.
I love the opportunity to help my patients, to work with them to find the best course of action to get them healthy and to give them the information they need to stay healthy.
A lot of my songs, they're like puzzle pieces, and there's just one way to put them together. You could, if you needed to, get the scissors out and cut up things to make them work. But I don't want to do that.
It was very easy for me to dedicate myself to the care of mothers, help them have healthy babies, help them be healthy, help them in a place where they don't have opportunities. Success breeds the excitement to continue going. It's harder to get out of bed when you've failed.
When I realized I could write lyrics and let someone that I knew listen to them, but not know that the song was about them - say it was a girl. I could write this song about how I feel about this girl, I could play it to them. I just loved it, because all of the words would speak to them. I could see them slowly falling in love with me.
Especially when I write, I want to get out of people's heads and have them speak and have them get dressed and have them go to work.
I find I like to work with a lot of the same actors, because I find that there's sort of shorthand there, and there is this unspoken trust, both ways. They trust me and I trust them. And I know what I'm going to get from them, to an extent. It's just fun, kind of creating this little family.
When I write a play, my whole intent at bottom is to get the audience to be in the cast, to get that audience on stage with the actors and to get them thoroughly involved in what's going on.
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