A Quote by John Collins

I've worked on my shot a lot, had a lot of time to think about it and I'm sort of settling into it. — © John Collins
I've worked on my shot a lot, had a lot of time to think about it and I'm sort of settling into it.
I think a lot of people try to plan things in their career. They feel like, If I don't get this done by the time I'm thirty, everything's over. But I've worked with a lot of people whose careers shot to the top later in life.
You know a lot of what worked on this was taken from Harry Potter 2, the little Doby character, we had a lot of our skin stuff worked out and that helped a lot. We have a lot of exchange happening.
I know that Madonna is not a first-time filmmaker, but I have worked with a lot of first time filmmakers and I have worked with a lot of inexperienced film directors so that never has particularly worried me - I find it quite exciting - but I have never worked with a director who has had so little experience of directing who was so prepared.
Reading what a good shot is, based on time and score of the game, based on the shot clock, based on my position - there's a lot of things that go into it. It's a lot of things that you think about based on when to shoot it or when not to.
After three days of shooting with Donald [ Sutherland], I was the only one he worked with for the first three days of the movie [The Winter Of Our Discontent] because of the crazy schedule. We [shot] a lot of this stuff, some of it incredibly intense and emotional. We had never had a conversation during that whole time. We didn't have time.
I made a lot of money. It took a lot of time but when I started making money, it really sort of worked well. Things fell into place.
I had a lot of jobs when I was younger. Where I grew up, there was a lot of agricultural jobs, so I worked on a lot of farms. I worked in the pea fields, harvesting peas.
I've worked with a lot of different producers, a lot of different writers on the album, so I mostly feel like I learned a lot about what I don't want to do the next time around.
I had a lot of great bosses - I worked for Gina Prince-Bythewood for two years, I worked for Ava Duvernay as a PA on her first narrative film, and I worked with Mara Brock Akil, so a lot of wonderful role models.
I've been working almost 20 years, and I think I've worked with maybe one black director of photography in that time. Maybe two women directors or DPs. Maybe. And I've done a lot of TV. That's a lot of people I've worked with.
I think I was kind of melancholy as a kid. I spent a lot of time inside my own head, a lot of time sort of staring into space wondering the hell was going on.
I think when I came into the league, I had to find something that would keep me around. I knew I wasn't going to get the ball a lot, being the younger guy on my team. I knew I wasn't going to play a lot unless I made some sort of impact on the floor. I wasn't the best shot blocker, so I said, 'Let's be the best rebounder the league has ever seen.'
I wasn't a 'Battlestar' fan, but I had a lot of respect for the show. I had a lot of friends who worked on the show, and I had seen a few episodes. but I was more attracted to it from afar, from the respect and awards it had received to the loyal viewership that it had. That piqued my interest a lot when the opportunity for 'Caprica' arose.
I spend a lot of time in preproduction working with authors, and a lot of time in postproduction.: editing, music, all that sort of stuff. Casting. On the set there's not a lot for me to do.
I think that we live in a moment in time where people have a lot of information about a lot of people kind of instantly, but it's all sort of surface information and it doesn't really mean anything.
If you know anything about what a lot of the senior leaders at Amazon do in their free time, they spend a lot of time on civil liberties. It's something that's very important to me and I think a lot of my peers.
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