A Quote by Juan Pablo Di Pace
I guess it doesn't matter how much homework you do. When you're on set, you gotta forget it and throw it out the window and, hopefully, some magic happens.
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That's the way it happens - some characters you set out to use, some are happy accidents. As long as it works, it doesn't really matter how you got them.
In a great horror movie, you've gotta have some character development and you've gotta set some of your people up and you've gotta have a little back story going. You've gotta take that time for exposition.
You have to bump or throw a block sometimes. Even when it goes wrong, how many times has it worked? I think it's a matter of picking and choosing your battles. You gotta do what you've gotta do to try to get a win.
You've got to be flexible. Directors do a massive amount of planning and homework, and if after all that your director decides to throw it all out of the window and shoot spontaneously, then you must follow his lead.
We actors are superstitious creatures. We do all the homework and we put all of the components together, but there's always one key aspect that we're not in charge of, really, and that's magic. You are always on the lookout for where and how that magic is going to ignite. When you have worked as much as I have and have sought it out as often as I do, you get very clear that it will come at very, very odd, unexpected moments.
My indifference to money and my spendthrift ways are disgraceful. You have no idea how reckless I am; how often I practically throw money out of the window. I am always making good resolutions, but the next minute I forget and give the waiter eightpence.
I gotta defend, I gotta protect the rim, I gotta rebound, I gotta set good picks for the guys, finish on offense, and I think that is not going to change much.
I call 'em complaining machines. Things are never right with a guy to them. And man, when you throw that hysteria in there ... forget it. I gotta get out, get in the car, and go. Anywhere. Get a cup of coffee somewhere. Anywhere. Anything but another woman. I guess they're just built different, right?
I think when I start out writing, I always try to write the version of the movie that I want to go see. I don't mean it in a way that ignores the audience, but I really set out to make a movie that I want to see and that, hopefully, other people will want to go see it. So whatever's amusing to me, I guess, I throw it all in there.
I've used some of my differences as a way to stand out and to hopefully count and matter - and hopefully create an opportunity for others.
For me, you have to do as much work as you can beforehand and, once you get on stage or set, throw it out the window because you need to be collaborative. You shouldn't have too many ideas about where it goes before you get into the room with the director and other actors.
No matter what you set out to do and how you set out to do it, you ultimately have to be who you are, and who you are as that character. So, I paid as much homage as I could to what Michael Clarke did, and had to rely on my own gifts to guide me through it.
My mother taught me this trick: if you repeat something over and over again it loses its meaning, for example homework homework homework homework homework homework homework homework homework, see? Nothing. Our existence she said is the same way. You watch the sunset too often it just becomes 6 pm you make the same mistake over and over you stop calling it a mistake. If you just wake up wake up wake up wake up wake up wake up one day you'll forget why.
I am a team player - and that is what you need to be an effective point guard. You gotta see the court, you gotta set up the play, and you gotta let others execute for the most part. I don't throw elbows for the sake of throwing elbows, but if somebody throws one at me and it's necessary to respond in kind, I suppose I can if I have to.
What I did before in my career you can pretty much throw out the window. Out of sight, out of mind.
I do forget sometimes how much it means for certain men—for certain people—to be able to provide their loved ones with material comforts and protection at all times. I forget how dangerously reduced some men can feel when that basic ability has been stripped from them. I forget how much that matters to men, what it represents.
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