A Quote by Joe Swanberg
I don't want to force somebody to talk about sensitive subjects if they're not into it, but at the very least, even if that's happening off camera, it's allowing everybody to be on the same level, and creates an atmosphere on set that engenders trust.
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I think I'm a really good partner and very sensitive to the other person's feelings. I want somebody else to be comfortable, to understand about my job, and if they want to come on a set and see me work, they always can.
The laws of physics are not about to change. Set your agenda by what’s happening in the atmosphere, not by what is happening in the artificial world of Kyoto.
I think, a lot of times, the mistake in music - even rappers that are trying to be big time - if you're broke, rap about being broke. If you're sensitive, rap about being sensitive, 'cause there are other sensitive people. If you're sensitive, but you talk about being a tough person that doesn't care about anything, people will call your bluff.
I have a very good sense of tone, and it's possible to talk about very personal things and maintain a level of dignity and even privacy - to go to the place, to talk about it, but not get icky.
Differences in race, differences in sex, somebody doesn’t look at you right, somebody says something. Everybody is sensitive. If I had been as sensitive as that in the 1960s, I’d still be in Savannah.
It's just a matter of who you are and how you talk to people. Your subjects will trust you only if you're confident about what you're doing. It really bothers me when photographers first approach a subject without a camera, try to establish a personal relationship, and only then get out their cameras. It's deceptive. I think you should just show up with a camera, to make your intentions clear. People will either accept you or they won't.
In the U.S., it's like, you start with a great script, and then on set - not everybody, but definitely in the Apatow group - you go off, and you're improvising on camera. So while you're on camera, you're saying things that no one else has ever heard before during the actual take.
Sometimes you want to have a talk about race, about police violence. It's very hard to get through to somebody. Everyone's got their side staked out. They don't want to talk about it. But you can break the ice with a little humor.
All my teammates, everybody, they trust me and empower me. I just wanna thank them for allowing me to lead them. And then my family, my wife, my son, everybody, like everybody, has played a part in helping me continue to become the best version of me on and off the court.
I don't like to put too much effort into things. I find that once you get involved with special effects it is no longer about what is happening in front of the camera and I really want to concentrate on what is happening in front of the camera, like the man apparently peeing on the surface of the screen.
Logically, harmony must come from the heart... Harmony very much based on trust. As soon as use force, creates fear. Fear and trust cannot go together.
Notably, it was only possible [ negotiating on the Tarabarov Island], and this is very important, due to the high level of trust Russia and China reached in their relations by that time. If we reach the same level of trust with Japan, we might be able to reach certain compromises.
Baseball is a set of individuals doing their thing in the same team, but it's much more individual. In basketball people are making real time decisions about who gets the ball, do we trust everybody out on the court, and the analytics certainly don't show you all those subtle dynamics, but they're very important.
I love to write. I used to be a math teacher. And I like the idea that other people could write about the same subjects, but no one would write it just the way I do. It's very individual: a child could write the same story as somebody else, but it wouldn't come out the same.
In terms of so-called fly-on-the-wall documentaries, there's a claim that the camera is a transparent window into a pre-existing reality. What really is happening is that the film crew and the subjects are collaborating to simulate a reality in which they pretend the camera is not present.
If you set up an atmosphere of community and trust, it becomes a tradition. Older team members will establish your credibility with newer ones. Even if they don't like everything about you, they'll say, 'He's trustworthy, committed to us as a team.'
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