A Quote by Lindsay Shookus
I was the first one to say, 'I'll cover that, I'll stay late. I'll go to that shoot.' Anything I could do to add to my job description... I also found out - you can't learn this in college - but I had a knack for dealing with talent in stressful situations and knowing how to make them feel comfortable and also being fairly truthful.
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Most of the reasons for late-term abortions have to do with severe fetal deformities, but when I found out that dwarfism was also a reason for late-term abortions that was tough. I did a book on dwarfs and know a lot of them, and that was a shock. That's a decision I could not feel comfortable with.
That's the biggest difference from college to NFL. Everybody's so talented at this level, the difference is knowing the game - knowing where to go with the ball in my position, knowing how to execute your job to the highest level. In college, you could just get by playing ball.
I had to really learn what it meant to be on a set and what the expectations were and what producers are. I had to learn who I'm talking to and what their functions are. I had a couple of gaffes: I would ask a person a question, and it wasn't their job. I had to Google their job description. That was the first big adjustment.
I am absolutely sick unto death of hearing people say - they all say this; it must be Item One on the curriculum in Trend College - "I just hate to talk to a machine!" They say this as though it is a major philosophical position, as opposed to a description of a minor neurosis. My feeling is, if you have a problem like this, you shouldn't go around trumpeting it; you should stay home and practice talking to a machine you can feel comfortable with, such as your Water Pik, until you are ready to assume your place in modern society.
Talent doesn't appear over night. It takes a lot of work and honing your craft, but also don't give up because people may say you're not good enough. I had so many teachers in high school and college saying "You're not going to make it. You're not. You can't." Luckily I had enough people around me who said I could.
As a director, your job can range from having to lean on someone to get a performance out of them, to someone being so built for the part that all you have to do is make them feel confident and comfortable and assured of what they're actually doing, and you just wind them up and watch them go.
McLeod's Daughters was my first regular job out of drama school, and my first full-time role. That was great because I learned a lot, in terms of working in front of the camera. I learned a lot of technical aspects that you take for granted once you know them, but you have to learn them somewhere, along the way. It was a bit of a training ground for me, working in front of the camera and also dealing with media.
When you have to stay late, you stay late, and when you don't have to stay late, you go home. But, you do whatever it takes to get the job done that day.
My illusions didn't have anything to do with being a fine actress. I knew how third rate I was. I could actually feel my lack of talent, as if it were cheap clothes I was wearing inside. But, my God, how I wanted to learn, to change, to improve!
Having been a stunt girl for so long, a big part of my job was to not just make the other person look as cool as they could, but also to act as a support. My job was to make them as safe as they could be, so that they could be as explosive and as emotionally engaged as they could be.
What took me decades to learn, these kids can get on the Internet...What I learned by brute force, dealing out hands, they learn on computers. It tends to make for fairly technical players, but they make up for it with aggression, the kind that comes when you learn things fast.
I love to sing. I also had a band during my college days in Saudi Arabia called Thousand Decibels. If not an actor, I would have become a singer. I am very passionate about work. I am a fitness freak: I go to gym before doing my shoot. I also do yoga.
At this point I feel like I could go out and accomplish anything. I'd just love to see Will Smith's face if he found out I, Z-Braff, have the number one rap album in the country. That'd show that no-talent uncle tom.
I know I am a human being. I can give myself to one year for a project. That is why I say I'm primitive in the way I work, especially compared to most artists. I came to New York in 1974, knowing that it is the art center of the world. But I didn't go to find people for my work. I do the work, and the people come to me, and I learn from them. That has always been my approach - to do the job first and then to respond to it after I finish and learn what people think about it. That's how I develop, and I'm more of an outsider in that way.
I had my guitar and some talent so that I could make friends with intelligent people and could talk my way out of difficult situations.
The first two major label records I did what I wanted to do. It wasn't a problem until after I finished my part. They didn't understand I was an artist, a capable artist. When you're the money dealing with the talent, you need to let that talent develop, your job is to figure out how to sell it.
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