A Quote by Jorge Garcia
People don't really want to know what happens. They ask you for just a second, but then they don't want to know.
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You can't ask for what you want unless you know what it is. A lot of people don't know what they want or they want much less than they deserve. First you have figure out what you want. Second, you have to decide that you deserve it. Third, you have to believe you can get it. And, fourth, you have to have the guts to ask for it
If you really want to know about the future, don't ask a technologist, a scientist, a physicist. No! Don't ask somebody who's writing code. No, if you want to know what society's going to be like in 20 years, ask a kindergarten teacher.
I've had such a great run with The Dutchess...and now this. You know, it is so interesting how in this business, the second you start dating they want to know if you're engaged. The second you're engaged they want to know when you're going to be married. The second you're married, they want to know when you're having children.
This job forces you to ask yourself so many questions: Do you want money? Do you want power? Do you just want to be good at your craft? I don't know what I'm doing. I just want to be happy. But I know I have to keep making music.
I don't go through a torturous intellectual process to decide what to direct. I know what I want to direct the second I read something or hear a story. I just know when it grabs me in a certain way I want to direct it. And then I spend the next four to six months trying to talk myself out of it, because directing is really hard! But it's true, I know essentially when and what I want to do next... it's an undeniable feeling I get and it's not the same feeling I get when I wind up producing something.
There's this thing in TV that I find hysterical where the writers and creators will ask us if you want to know what happens to your character or if you want to experience it episode by episode. In the theatre, we always know the ending; we always know where the character is going.
I know what people want. I know what everybody wants - I know what the streets want, I know what the suburbs want, I know what corporate people want. I know what-all type of music these people listen to.
It’s harder to talk about, but what I really, really, really want for Christmas is just this: I want to be 5 years old again for an hour. I want to laugh a lot and cry a lot. I want to be picked or rocked to sleep in someone’s arms, and carried up to be just one more time. I know what I really want for Christmas: I want my childhood back. People who think good thoughts give good gifts.
Actors go, 'I just want to act.' And I say to them, 'You know, stop for a second and think about what charges you up the most. Do you want to be on the stage, do you want to be in film, do you want to be a comic actor? Do you just want to make it for the money and capitalize on your look and do commercials and soaps?'
I'm trying to be morally responsible and no more. I don't have an agenda I'm trying to push. People talk about Three Days of the Condor as being anti-government but the last statement in that movie is the CIA guy saying to Robert Redford, "Ask 'em when they're running out. Ask 'em when there's no heat in their homes and they're cold. Ask 'em when their engines stop. Ask 'em when people who have never known hunger start going hungry. You want to know something? They won't want us to ask 'em. They'll just want us to get it for 'em!"
A lot of people ask for sequels, but what they really want is just to know the characters are happy and safe.
And then afterwards I worked in advertising for a year which taught me about writing even when you don't want to (laughter) because there's never a moment that you want to write about an Erickson cell phone but you have to. And that's really important you know obviously for the...like if you really want to write, you have to write every day no matter how you feel or you know. And then, yeah, and then I ended up working in TV and then from TV into movies and then directing, so.
I definitely isolate, but I also always have people in front of me, and I have to be OK with that. I'm in a business where, on the set, you're around two hundred people every day, and if you're high on the call sheet, you sort of set the tone for the set. And you want people to feel appreciated, and you want to ask them how their kids are. You want to talk to people and invest in them and let them know that they're appreciated and heard. But then I do like to just kind of withdraw.
People really want to think that these things really happened. I don't know why that is important, but I know that when I finish reading a novel or something, I want to know how much of that really happened to this author.
People really want to think that these things really happened. I don't know why that important, but I know that when I finish reading a novel or something, I want to know how much of that really happened to this author.
The driving force behind 'In Our Time' is that I want an education. I want to know more about science, say, and if I want to know, then other people probably do, too.
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