A Quote by Kyle Schmid
The first day was memorable for me. I walked into this studio with these giant eyes, slowly met everybody and got to see the story boards and sketches of our characters. I got the see the sets and was just amazed that all this was to be something we all were going to be part of for almost a year.
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When I was in high school I got involved in the fringe theater scene in Chicago, and I met some openly gay people. I could see that it got better, that they were happy and loved and supported. I saw with my own eyes that it got better.
TORONTO -- When Cameron Crowe was flying to the Toronto film festival recently, he walked down the aisle of the plane and studied his fellow passengers sitting in front of their personal TV sets. They were just having the greatest time, there was so much joy in their eyes, .. And I looked to see what they were watching. And it was all out-and-out comedies. So many people watching The Longest Yard. And I just got the feeling that, 'You know what? People just like to let it all go, and have a laugh'.
The fact is, it was a big show. We were a part of that show. Everybody watches for different reasons. There were some people who were tuning in that day to see what was going on with other characters.
I chose Bagdasarian Productions when I heard from some colleagues at work who were buying story boards at the time back in the early '90. I met the man once when I came in with the first half of the story board and the only thing he said when looking at the first half of the board was, "It's so nice to see someone using their imagination."
When I got hit I went from having 37-year-old eyes to having 65-year-old eyes. That's why I've got the glasses on - so my eye isn't constantly trying to focus and giving me headaches. But they also help me see better: my right eye is blurry.
I was amazed and upset by the looks I got just walking around the studio... It illuminates the ugliness and the beauty that exists within each of us, and that's what this story represents to me.
Maybe instead of strings it's stories things are made of, an infinite number of tiny vibrating stories; once upon a time they all were part of one big giant superstory, except it got broken up into a jillion different pieces, that's why no story on its own makes any sense, and so what you have to do in a life is try and weave it back together, my story into your story, our stories into all the other people's we know, until you've got something that to God or whoever might look like a letter, or even a whole word.
It’s been me all along,” said September slowly. “Me who gave up my shadow, me who went down into Fairyland-Below and Fairyland-Lower-Than-That to wake up the Prince. Me who shot the poor Minotaur. You oughtn’t just hand the whole business over the moment a Prince comes on the scene. I’ve got to see it through, don’t you see? The Hollow Queen is hollow because she’s missing the part of her that’s me. We’ve got to come together again. And he can’t do a thing about that.
You see a guy with one leg, he's got a story. "Land mine '69." You see a guy with one arm, he's got a story, too. "Snow blower, bottle of whiskey." You see a guy with one tooth, what would the story be? "Well, uh, I like a lot of taffy."
I met the guys at HeavyRoc through the drummer in St. Lucia, Nick Brown. He is Ben from The Knocks' cousin, and at the time we'd been doing some work together, but everything was still very much in the unsure developmental phase (even though I'd been in it for a year and a half). I told him that if he was going to play the music for anyone that he shouldn't say anything about it and should just play it and see if anyone says anything, and he did it one day at their studio and they loved it and got it touch.
I absolutely loved it, and I loved the way the character of D'Artagnan had been portrayed. I was just well up for it. So, I went in and met (director) Toby [Haynes], and as soon as I got into that room, to see how excited everybody was to get this underway and onto the set, it just drew me to it, even more. It was an instant attraction, so I was delighted when I got the offer.
One of the most memorable moments was when I first saw earth because I had seen many pictures, many videos of earth from space, and being able to see that with my own eyes had a completely different effect, and sort of almost sensing life emanating from our planet in the dark background of the space, it was a really memorable experience.
I thought food and drink were just part of the perks of living at the White House. The next day, I got a call from his secretary saying my dad wanted to see me in the Oval Office, and when I got there, dad was waving this little pink receipt. I didn't know it came out of his salary.
I would love to see what's going to happen with science fiction with peoples' heads, because we still have people running around in the year 2050 or 2100 or 2200 and they have incredible technology and you see the effects: laser beams and rays and beaming down and beaming up. Incredible technical things happening, but everybody is still running around jealous, fighting, whacking, cheating. There's got to be something going on! Some kind of change. I'd like to see something starting to happen in that area, with the psychology of the human being and how that changed.
You have to do three things really well to make a successful film. You have to tell a compelling story that has a story that is unpredictable, that keeps people on the edge of their seat where they can't wait to see what happens next. You then populate that story with really memorable and appealing characters. And then, you put that story and those characters in a believable world, not realistic but believable for the story that you're telling.
You've got all these characters and yet, you're hovering over one character like a fly over a stinky diaper. Realize that you've got a kickass superpower: you can possess and take-over anybody inside the story. With the power of Point-of-View, you can drag us along for the ride. You can shove us into their eyes, their minds, you can force us to piggyback on their experiences past and present. Sometimes untangling a knotted-up tale means looking at it from different eyes: what better eyes than those of the other characters inside the story?
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