A Quote by Malcolm D. Lee
I had a strong vision for 'The Best Man Holiday,' so I was able to translate that to the actors and ultimately to the screen. Things can't get too heavy or too outrageously funny; it has to strike a balance. Tone is everything. If you've set the right tone, you can get away with a lot of stuff. You can get away with making people cry.
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Unfortunately, when you're working in film, it's this huge machine, and you've got to get everyone right there, so you get kind of locked into things. I'm not sure where the artistry in film making is. It's usually that moment when you're on set and you're working with the actors. That's the time to play around, the moment of theater. And then you can shape things. But a lot of it is just managing stuff. It's upsetting because you get away from the core.
I also focus on Bush and his administration - who do a lot of lying - and how a right-wing media has allowed them to get away with a lot of stuff that, in a different media environment, they probably wouldn't be able to get away with.
You can get away with breaking all of the other rules at least once in a while, but you can't get away with breaking this one. Readers will accept almost anything from you if you don't make them feel they have wasted their time and money. Remember, you can bore readers in a lot of different ways. It doesn't necessarily take a dearth of action; too much action can get you the same result. Everything in writing, like in life, requires balance.
I'm kind of at a point in my career where I can get away with traditional stuff and then get away with some more rocky and pop and edgier stuff, too.
I just see many, many untruthful things. I see tone, the word tone. The tone is such hatred. I'm really not a bad person, by the way.The tone is such - I do get good ratings, you have to admit that.
A role needs a certain tone, so your own tone also changes. It's not like I lock myself up in a room to get into the zone. It is based on what I am feeling, because the minute you try too much, weird things happen. Of course, for an intense role you need some silence, and you need to do a lot of thinking.
When ordinary people wake up, elites begin to tremble in their boots. They can't get away with their abuse. They can't get away with subjection. They can't get away with subjugation. They can't get away with exploitation. They can't get away with domination. It takes courage for folk to stand up.
If you have a large number of unrelated ideas, you have to get quite a distance away from them to get a view of all of them, and this is the role of abstraction. If you look at each too closely you see too many details. If you get far away things may appear simpler because you can only see the large, broad outlines; you do not get lost in petty details.
Why is it that the producers can do anything and get away with it, and the actors are held accountable for everything? The makers often stop actors' payments, too. Everything is in their favour in the contract.
English is much drier. You can get away with a lot less. Pathos, lyricism, these are things you have to tone down if you want the English version of the book to work.
That's something a lot of athletes miss - a lot of them walk away too soon. They don't get everything out of their system. They have a lot of what-ifs when they're sitting around later in life. I don't have that. I got all that out of my system. I pushed it to the brink, I loved it, and when I walked away, I'd had enough.
A lot of stuff happens daily when you're running a company like Subway. If you get too happy about some things or too unhappy about others, you get worn out. It's best if you can pace yourself a little bit more.
Coaching - get a guy like Phil Jackson, you expect the coaching to change right away and things to change right away. Ultimately, it takes a lot of time.
The stuff that I make and the things that I talk about, you have to listen, so if the beat is doing too much, it's going to take you away. If the hook is too distracting, it's going to take you away. The hook just needs to be enough to get you from one verse to the next.
I always fear with music that it can be too immediate - too geared toward a "get addicted to it and throw it away" mentality. I get so melancholic once I fall out of love with a piece of music, and I try to make music that I think will at least able to grow with me as I get older.
I'm interested in the dark horse. It's too scary being the face of something, unless it's really right. A lot of young actors want to get a lead role, get into Hollywood. I do everything slow and steady.
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