A Quote by Joseph Kosinski
Certainly there's pressure while your making the movie.
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The experience you have making the movie is all you have; when the movie's finished, that's for other people. But while you're doing it, that's your time on the planet, so you want it to be good.
You're in the middle of making a movie and this part of the process is always very interesting. Because you think what you're making your movie is and then you start putting it out there, and then people tell you what your movie is.
There is a pressure, but my job essentially is not to listen to that pressure, not to buckle underneath that pressure, but instead to continue making music in the way that I have been making it.
For Scary Movie 2, we had a due date and had to work fast. And though there's a lot of pressure, as artists, we just block it out. So really, the pressure comes from us. That's how the first movie happened. There was no outside pressure: we wanted to hit the audience hard.
It is that rare film [Moonlight] that comes along once in a while that catches the zeitgeist. This movie is that. I certainly have my fingers crossed that it is. Everyone needs to see this movie.
If there's a cutaway, you need to get it then because it's only going to last [a few moments]. You have to edit the movie as you're shooting it in your head and communicate with your crew about how it's going to work. While making a movie, you have the luxury of storyboards and a script and a bigger crew and actors. I mean, it's so much easier.
I think that while you're making the film it's important to just keep your eye on the ball and make the best movie you can, and then realize that it's out of your control.
It's hard making a movie because it's like... you lose your life. I mean, really, I like being alive; I like having friends, going out, watching other people's movies, and all these things I can't do for a year while I make a movie.
In editing, you really face what the movie is. When you shoot it, you have this illusion that you're making the masterpieces that you're inspired by. But when you finally edit the movie, the movie is just a movie, so there is always a hint of disappointment, particularly when you see your first cut.
You're never going to truly wrap your head around things that take a lifetime to study while making a movie.
But these realities will make themselves felt soon enough and while I am certainly not asking you to close your eyes to the experiences of earlier generations, I want to advise you not to conform too soon and to resist the pressure of practical necessity.
Grip pressure - not mechanical flaws - is the biggest factor when you're nervous. You unconsciously grip it tighter, which keeps you from making a smooth swing with a natural release. Keep your grip pressure light, and you'll be surprised how much your mechanics stabilize.
The hardest thing in making a movie is to keep in the front of your consciousness your original response to the material. Because that's going to be the thing that will make the movie. And the loss of that will break the movie.
There's certainly pressure to find your audience early. You need to paint the picture, but it's tough trying to find the balance between a show that people can tune in on any given week while still grabbing the people who are there every week.
I want to be one of the greatest champions of all time. And it's a good pressure - I need this pressure. Because if pressure is making me work, if it's making me work harder - it was hard work to get to the championship, to win the championship.
Making a movie is like a stagecoach ride through the Old West: at first you wish for a pleasant trip, and after a while you just hope you reach your destination.
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