A Quote by John Malkovich
I have at times spoken with my peers and the head of the actors' union about why we're not paid when we appear in, say, a 'TMZ' production, but there seems to be no real interest in combatting it.
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As I see it, if the production of a factory is expanding, and workers are satisfied, it's OK for there to be a disparity. The best paid should be about three times more than the worst paid.
I like to write about real people, real crimes. But what has increasingly come to interest me, and also appear to me as a challenge, is the idea of doing strange things with what is real. Take what is real and make it more or less real.
In the Soviet Union I was the head of all oil production. And you know in the Soviet Union, you didn't get that job unless you were really worth it.
If you grow up poor you're always going to worry about money, no matter how successful or lucky you become. I'm not moaning about what actors get paid - I'm very, very lucky - but the difference between what leading actors get paid and supporting actors get is a lot.
Why not admit that the words separation and church do not even appear in the US Constitution, he added. Instead, they do appear in Article 52 of the Constitution of the Soviet Union.
It seems as if, for every dragon head that is lopped off, two more terrible appear. Seems so. But in truth, Life is gaining all the while. Brute force, such power as there seems to be in things, cannot stand against ideas which are eternal.
You must create the character's internal life. What do I mean by internal life? I mean the thoughts, feelings, memories, and inner decisions that may not be spoken. When we look into the eyes of actors giving fully realized performances, we can see them thinking. We're interested in what they're experiencing that may never be spoken, that quality of nonverbal expression - which is as much a part of the characters as breathing and as real as what they say and do. This is their internal life. It helps us believe in the characters and care about them.
Consumption is the sole end and purpose of all production; and the interest of the producer ought to be attended to only so far as it may be necessary for promoting that of the consumer. The maxim is so perfectly self-evident that it would be absurd to attempt to prove it. But in the mercantile system the interest of the consumer is almost constantly sacrificed to that of the producer; and it seems to consider production, and not consumption, as the ultimate end and object of all industry and commerce.
I would push for more production and Steve Miller would say, "Why do you want to have more production when you have real songs? You don't want to cover up the song."
In the North, the sale of government bonds was the one measure for raising funds that seemed to work. Even that, however, with the lure of compounded interest to be paid in gold at a future date, failed to raise more than about half the needed amount. So the Union faced a real dilemma. The only options remaining were (1) terminate the war or (2) print fiat money. For Lincoln and the Republicans who controlled Congress, the choice was never seriously in doubt.
Why should a financial engineer be paid four, four times... to a hundred times more than the, uh... real engineer? A real engineer build bridges, a financial engineer build, build dreams. And when those dream turn out to be nightmares, other people pay for it.
The real and most pressing question raised by any social problem is: "How do I appear concerned and compassionate to all my friends, colleagues, and peers?
Very often what will happen between actors is that they'll develop kind of a ghost relationship in real life that reflects their relationship on screen or in the play that they're doing. In fact, I'd say that happens almost every time. I don't know why that happens, but it seems very common.
There are some actors who have an interest in comedy but they can't say this openly. They do feel insecure about the comedian walking off with all the applause. In fact, I have seen my lines being changed and scenes being reworked to suit certain actors.
You want to be paid in respect to how your peers are paid.
The director makes the movie. The director has to have the story in their head, has to know the style of the piece, has to answer questions from actors, design, set, lighting, every department throughout the pre-production, production, and post-production, because they've got it in their mind. They've got to know exactly what they want and what the style and story of the movie is. It's them. They make it.
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