A Quote by Jamie Dornan

There's very exciting directors who haven't made a feature yet. That's what's cool about the job - the ever-changing landscape of people you could potentially work with. — © Jamie Dornan
There's very exciting directors who haven't made a feature yet. That's what's cool about the job - the ever-changing landscape of people you could potentially work with.
I like the idea of taking what is essentially a boring, officious job and turning it into something that is a fantasy, to a degree. I suppose there is a juxtaposition involved in that because you do have to be a civil servant but you're doing a tremendously exciting job, or potentially an exciting job, or a glamourous job.
Hollywood people don't want to be embarrassed by being involved with someone who isn't happening and cool at the time. But I never made the movies for the critics; I've done the best I could with the material and the directors and the actors I had. But the thing that's really exciting is that once I do that one project that's different, that stands out, everyone's gonna be watching.
When I ask people how much time they spend not doing their job - time spent on 'work-about-work' or phone calls or e-mails - people regularly tell me 60, or even 90 percent. So if Asana could take that down closer to zero, we could potentially double the effectiveness of humanity.
I know a lot of editors who are very bitter about the directors they work with. They feel they could have done a better job, and I say to them, 'Oh really? Why don't you go try - it's not easy.'
Dangal' movie has been made on our lives in which two daughters win a medal for the country. It just shows that the times are changing and people's attitudes are changing and if it is changing because of us then we are very happy about it.
It just so happened that I had this place called YouTube where everybody in the world could do exactly what they wanted to do and it's potentially one of the most exciting times I've discovered in the history of anything ever.
The exciting part about sitting down and writing songs, playing shows, or being a musician in general is that you never know where those songs and that music is going to take you. There's such a cool feeling about that the phone could ring tomorrow and someone could say "he guess what? your song..." That really is cool.
One of the joys about my job is that I've been able to constantly move and keep changing. The whole point of being an actor is you change your exterior everytime you do a new job and that's what keeps it exciting.
One of my favorite directors is Clint Eastwood, and I hear about the way he works, and I think I'm of a similar style. Very few takes - you get what you take, and you move on. It's very much a job and work.
My father did think I should get interested in television. But I had very little interest in television and it wasn't something I wanted to do. I really never thought about going to work on big feature films in Hollywood. But when we made The Householder, Columbia Pictures bought it. Who would have ever imagined?
If [hand-drawn animation] is a dying craft, we can't do anything about it. Civilization moves on. Where are all the fresco painters now? Where are the landscape artists? What are they doing now? The world is changing. I have been very fortunate to be able to do the same job for 40 years. That's rare in any era.
I was always asking people about their work. How do you do a job like that? Do you love it? What does it pay? I was lucky to have access to people who could answer my questions. Otherwise, my life could have turned out very differently.
When I first started out, it was very, very difficult to even get in the room with directors or casting directors because they would see that I hadn't been to drama school and wouldn't want to see me. Now, I feel like it's changing. We have this new generation of a lot of writers, directors and actors who are just breaking through, and they're doing it for the passion.
One thing about this face was very strange and startling. You could not look upon it in its most cheerful mood without feeling that it had some extraordinary capacity of expressing terror. It was not on the surface. It was in no one feature that it lingered. You could not take the eyes or mouth, or lines upon the cheek, and say, if this or that were otherwise, it would not be so. Yet there it always lurked-something for ever dimly seen, but ever there, and never absent for a moment.
My first month in syndication, I made about $100. I thought it would be exciting if I ever got up to the level where I could pay my rent.
But on this show, it's a good question because in the 35 shows that we've done now, I've really made a consistent effort to really shadow the directors because in many ways they have to be more prepared than feature directors.
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