A Quote by Martin Parr
Filming is always a challenge because I'm not used to it. But I approach it head-on. I'm not technically brilliant, but it's the spirit that counts.
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I said Revolver is my favorite The Beatles album, but only because it came to my head and it's a brilliant one. But they're all pretty brilliant. There's variations, but they're all brilliant, and it just depends on if they're very brilliant, or just a bit brilliant. It changes.
I love talking about the challenges [Newark, NJ] has because of the way they are always brilliantly disguised as opportunities.. .the biggest global challenge that there is is a challenge of the spirit, a challenge of our vision, a challenge and a test of our ideals, of who we SAY we are GOING TO BE.
It has been my experience as a teacher over the years and incarnations that what really counts are not techniques. What really counts is spirit, love. What really counts is a sense of propriety and dedication.
There was a strange atmosphere on the set because we were filming in this large house, which was used for troubled children. You'd go in and find walls had been burnt down. The building was charged with this history and it stayed with us throughout the filming.
Furthermore, it is not that Spirit is present but you need to be enlightened in order to see it. It is not that you are one with Spirit but just don't know it yet. Because that would also imply that there is some place Spirit is not. No, according to Dzogchen, you are always already one with Spirit, and that awareness is always already fully present, right now. You are looking directly at Spirit, with Spirit, in every act of awareness. There is nowhere Spirit is not.
I've changed my approach to people and to filming because of the new equipment, which is important.
What we do for a living does not matter so much as how we do it. It is the spirit in which we do our work that counts, and that counts through all eternity.
My approach tends to be from experiments. I need the challenge. If I know how to do something well, there's no need to do it all the time because it becomes a little monotonous. So I like to find a challenge.
I learn the lines as soon as I can and then the challenge really, for filming, is to show up and be there and respond to what's around you. That's where the gold dust is. It's really strange, no amount of preparation will help you with the magic of spontaneity on the day [of filming].
There are certain things I can't do, certain pitches I can't hit. You stay away from them. You try to wait for pitches you can hit. The bat speed isn't what it used to be. You make up for it by using your head, working counts, getting ahead in counts and getting pitches to hit and hitting them hard.
I was so used to documentary filming, where it's one take. You can't really say, 'Make that elephant charge again!' And you talk to the camera. With movie filming, you're talking to someone else.
My family, they're not really that involved in what I do. Career-wise, they're very supportive. They're involved after the fact. I don't tell them anything, usually, until I'm finished filming it or mid-way through filming it. It's just a job, and I approach it that way.
In our culture, good looks are so important, and today he'd head straight for a plastic surgeon, but in Cyrano's time, the nose was who he was, and it didn't matter that he was a brilliant poet, a brilliant swordsman, a brilliant man. His nose defined him.
Filming in London is brilliant.
In magic, today as always, the effect is what counts. The method or methods used are always purely secondary.
I used to hate Ian Rush when I was young, because I was a devout Evertonian in those days, and he seemed to score every time Liverpool played against us. It's strange to think he used to support Everton too when he was a kid. He was brilliant to me at Anfield always giving me good advice.
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