A Quote by John Noble
Walter is incredibly complex. I do a lot of thinking about the work I do, and try to get the rhythms of scenes.
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I'm sticking my tongue out in scenes to try to make that work in 3D. I'm thinking I'll try to get my tongue all the way out to the second row of the audience.
I had worked for a lot of directors whose work I didn't respect, and as I was editing material, I was thinking about how I would have shot the scenes and what I would have done to make the scenes better. After several years of that, I got to the point that I was pretty confident I could sit in the director's chair.
Strangely, I always have a lot of cut scenes. I keep writing shorter and shorter scripts, thinking that this time, I'll get all my scenes in.
When I was on 'The Golden Girls,' we'd have eight scenes per show. And when 'Seinfeld' came along, they went to, like, 30 scenes a show, which was revolutionary. 'Arrested Development' has probably got 60 scenes per show. It just keeps emerging as this more and more complex thing. I always try to keep it very simple at its heart.
I'm connected with a lot of different paranormal groups out there worldwide, a lot of different spiritual people. My networking over the course of the past 40 years has really grown where I deal with quite a bit. There's a lot of work that I do behind-the-scenes that I just don't ever talk about or things that don't always come to the forefront as far as investigating and getting involved with spiritual people, meaning any type of clergy, because I do work with a lot of them behind-the-scenes.
As an actor, you only get to work 15 minutes an hour; as a director you're fully immersed. It's incredibly more complex and challenging and I love it. I'm sort of a glutton for work and to direct something that I'm acting in feeds the vein.
With sex scenes and intense scenes, in general, a lot of it is preparation before the scenes happen, so that you don't have to worry about it on set.
Look, I get it. Whether it's school, work, family, we've all got a lot on our minds. People say to me, "I'm just too busy to think about politics." But here's the thing: You may not be thinking about politics, but politics is thinking about you.
I saw my parents, as immigrants, try and try and try to take root and get ahead and so yes, 'Sweat' resonates with me incredibly. And I was an outsider. So I know very much about that.
Teaching I realized took up a lot of my time. I was a kind of a teacher that spent time with students, spoke to them after class, tried to help them out. I'd talk with them personally about their work and try to get out of them what they were thinking about, forcing them to thinking seriously and not just falling back on all the ideas that they had picked up someplace. And so I took my job teaching very seriously and that - as a result, it took up a lot of time.
I get up late, have an espresso, and immediately start work. I try to get roughly caught up on email before I leave the house, then if I need to write anything or review a complex deal, I do that, and then I head to the office and work on my top few priorities for the day. I try to schedule my meetings in the afternoon.
In the studio, I don't do a lot of work that requires repetitive activity. I spend a lot of time looking and thinking and then try to find the most efficient way to get what I want, whether it's making a drawing or a sculpture, or casting plaster or whatever.
I try to get in people's heads. My job is to get the ball, so if I'm talking trash to an O-lineman or quarterback or receiver, and they start thinking about me, that's good, because they aren't thinking about the game anymore.
I'm an incredibly emotional person, but I always feel bad about that. The work is therapy... I need to emote wildly while I write. I weep. I'll laugh, get excited, and get up and pace. I try to take the emotional journey with the characters.
One of the great things about being commander in chief is getting to know our men and women in uniform in a very intimate way, whether it's visiting Walter Reed and seeing our wounded soldiers, or being on a base and talking to families, or interacting with them on missions. They're the best of the best: always thinking about the mission, not thinking about credit, not thinking about who's up front.
I think there are a lot more relationship scenes in my movies that people tend to overlook. A lot of scenes really feel real and are about the characters.
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