A Quote by Megan Mullally
You can really shoot things you think might work on camera one way, then you can try it that way, and then if you think it could also work another way, you have that luxury of shooting a bunch of different steps, and then they can decide in editing what works the best.
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Wes Anderson is a perfectionist, so you have to just be ready to try it this way, try it this way, try it that way, and then try it this way. And then, once you think you've got it all and it's done, then you're going to be called back in two or three months so you can try it that way and try it this way. You've got to give him all of it.
Different things work for different people. One thing I've realized, though, is that the work that I've done on myself outside of my work as an actress has really allowed me to open up my mind. I think I understand my emotional state and my complexities now in a much clearer way, and I can put them to rest in a way that there's almost a catharsis that happens through the work, where I can do it and then find myself again.
I thought that you had to work, work, work and try to be the best musician you could, and that's the only way you could make it. Then it turns out, halfway through the scene, they change the rules on you!
I'm really specific in the way that I shoot. I've always had a very good sense of what I need in the editing room. I used to shoot in a way that drew more attention to the camera and I've tried, in each film, to draw less and less attention to the camera. I think when you pay attention to the shots, you're aware of the fact that there's a director.
The joy of a period film is that you're taken to another world. The costumes determine the way you move, and then consequently the way you breathe. And then, the way you breathe effects the way you think.
I try to create paintings that are a window for the imagination. If people look at my work and are reminded of the way things once were, or perhaps, the way they could be, then I've done my job.
I've done my best to work from a place of humility - always looking over your shoulder saying, 'Does this suck?' and I think that's a good way to work. The other way to work is where you start to think, 'I'm on fire, I'm amazing!' and I don't think that's the way to work.
I have found in life that if you want a miracle you first need to do whatever it is you can do – if that’s to plant, then plant; if it is to read, then read; if it is to change, then change; if it is to study, then study; if it is to work, then work; whatever you have to do. And then you will be well on your way of doing the labor that works miracles.
If you have a friend, what's the best way you can experience her beauty? It's to really accept her. She's weird in this way, I accept it. She's hard to talk to, I accept it. Then that person eventually will come all the way out into the sun. I think it's the same way with our talent. We say, "Look, I'm not going to judge you. I'm going to try to use you in the very best way."
It sounds really corny but every film that you do is its own journey, it's its own experience, it's its own thing. Often you think it's going to be one way and then it goes another way - you think you can chart a character and then other things happen. That's the amazing thing about our jobs, it's constantly changing and it's extremely dynamic and you therefore have to be dynamic as well.
We think that we have to do so many things and it's unfortunate, entire modern society is besotted with the do-ables, we have to do this, we have to have a half-hour of yoga, an hour of meditation, 2 hours of this, and then 12 hours of work and non-stop electronic gadgets, gizmos etc. etc., and then go home and take care of the family, and then take the children to wherever, and what tends to happen is we do way too much. The society does way too much. One of the greatest things in healing is try for just one day to do nothing. Very difficult.
I love to work, and to make all kinds of work. But if I work on a fashion story then I work for somebody. If I work for me, for an art project, then I'm not that nervous. It doesn't matter when the photo is done. And if I work on a fashion shoot, then I have access to all these things that I can use later for my art - a still life here or there. I can do all of this while the model is changing.
I’m much better at working out ideas in action than I am in theorizing about it and then transferring my thinking to action. I don’t work that way. I work with tentative ideas and I experiment and then with that experimentation in action, I finally come to the conclusions about what I think is the right way to do it.
I love to work in all sorts of different situations. I think you learn a lot, which is why I try not to approach something the same way, because it might not be appropriate, and then you can get lazy just out of boredom. So I love any approach.
In terms of work, I would like to work on a biopic and some people that I have met have mentioned that my life, in some way, is similar to Mumtazji. She was also a dancer and then became an actress so in that way, I relate with her. So I think if I get the chance, I would like to work in a biopic on Mumtaz.
I try to keep my confidence on the charts, but I'm a confident guy as well. You've got to be that way. If you don't think that you're the best, then you won't perform that way.
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