A Quote by Kelly Lynch
The least consideration of any film I've ever worked on is who is right for it.
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There are different sides to me; I wanted to make a personal film but I would not want to make any film that does not reflect me in it. At least, not right now. I'm just too young to be doing that.
No one ever asks me about Breeze O'Rourke! I did the pilot for[Payne] right after Jawbreaker, or at least right around the same time, and it was an Americanized version of Fawlty Towers. That was the first time I worked with John Larroquette, and it was definitely not the last time.
I've worked with a lot of real heavy hitters, and Quentin is maybe heads and shoulders, at least a forehead, above just about anybody I've ever worked with.
We all grew up with Black Sabbath. I mean, there's no secret there. Any of us, any of the members of any band I've ever been in, or anyone I've ever worked with.
There are many people who have worked just because they love the community in which they are in, without expecting any financial consideration.
Frank Miller is more of a visionary than any director I've ever worked with, and he achieves that vision better than anyone I've ever worked with.
We all know of course, that we should never ever ever ever ever ever ever ever ever ever ever ever ever ever ever ever ever ever ever ever ever ever ever ever ever ever ever ever ever ever ever ever ever ever ever ever ever ever ever ever ever ever ever ever ever ever ever ever ever ever ever ever ever ever ever ever fiddle around in any way with electrical equipment. NEVER.
Not only do I look at the playback with the actors, but I look at the on-set assembly footage with the sequences with my actors as well. These are the reasons why I take twice as much time to shoot a film in Korea. Thinking back, I remember on my first ever Korean film, I never used any playback or on-set assembly, so all I had to do was to tell myself it's just like making my first ever Korean-language film. After that, I felt right at home.
I think sex appeal is something that's fun. But I'd guess any man with any conscious consideration or understanding of his own sex appeal is one of the least sexy men you might meet.
I know when I watch a film at this point, if I completely lose myself in the characters and the story and the world of the film I know that it's at least in my opinion, that was great. Otherwise I'm thinking: "Oh I know they were just doing A, B and C, right before they walked into the scene, then the camera was there, then they probably took the shot from this reverse close-up and moved it into this." When all of that drops away then I'm like: "Okay this was phenomenal, this was fantastic." I mean, any film or TV performance in general is probably good.
We just constantly worked on second Saw film, it's not an Academy award level film, but we worked as hard we could to make it plausible.
The needs of a human being are sacred. Their satisfaction cannot be subordinated either to reasons of state, or to any consideration of money, nationality, race, or color, or to the moral or other value attributed to the human being in question, or to any consideration whatsoever.
I never did a right thing or abstained from a wrong one from any consideration of reward or punishment.
On an average, any short film will cost at least Rs. 60,000. Apart from film festivals, where is the avenue to get that money back?
My parents worked in the film industry, but they both worked behind the camera, so I like to think that I have a really good understanding of how all the parts of the puzzle come together to make a film or TV show.
I'm probably the least famous of any guy who's worked as much as I have.
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