A Quote by Mike Binder
It's not a great feeling for a film to suffer financially, but you can't sit and mope about it. You just have to just move on to next project - I try to always be working on a new project when my last one hits the theaters.
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I try to just be open to what the next experience is and how it makes me feel, just reading a project, or trying to get involved with a project, or thinking about a project, and what particular emotional flavor that brings. To me, it's never really about planning the next thing, or the career arc. It's about investigating how I feel, from project to project, and finding things that I haven't explored and what that would be like.
I try not to write more than two or three, I try to just write one if possible, I write till the end at least a draft of a play or a novel; but sometimes, I'll take a break for a couple weeks for a project that is paying me money like a television project which I try to stay away from just to stay financially ahead of the game.
I'm working on a few different films and I'm just searching for the right new story to tell. As a director, you just have to kind of like just get through the first project before starting on the next one.
I never had a lot of ideas. I always have exactly one that is the next project; the idea of a project beyond that project is ludicrous.
This earth indeed is the very Body of God, and it is from this body that we are born, live, suffer, and resurrect to eternal life. Either all is God's Great Project, or we may rightly wonder whether anything is God's Great Project. One wonders if we humans will be the last to accept this.
I always look forward to the next project. That is one of the wonderful things about architecture - you always can hope for another project to design.
I'm strictly a one-project-at-a-time kind of guy. If I came up with a compelling idea for a different book while working on a project, I'd probably abandon the first project and go with the new idea.
One of the things that's been nice about my career is that I've been able to do so many different things, and variety keeps your creative soul fulfilled. I'm constantly looking to find new things to do. It's just project to project for me. You never know where the next thing's going to come from.
When we consider a project, we really study it-not just the surface idea, but everything about it. And when we go into that new project, we believe in it all the way. We have confidence in our ability to do it right. And we work hard to do the best possible job.
It depends on the project, what's happening that day on the project, at what stage were in on the project; it various from project to project and where we're needed.
I don't really feel pressure. I'm so distracted by what we're doing; I'm doing this four-acre project, it's just absorbing all my attention. Before you know it we're onto the next project, and so on and so forth.
When I said yes to doing 'Queen's Gambit,' I was feeling burned out on directing and movie-wise wasn't sure what my next big project was going to be. So I said yes to doing this very different type of project that required a different skill set from me, sort of just to shake things up, if anything.
As a gut thing, my next project is always the complete opposite of the thing I've just done. So if I've spent a lot of time doing film, I might then do some radio.
When the government undertakes or approves a major project such as a dam or highway project, it must make sure the project's impacts, environmental and otherwise, are considered. In many cases, NEPA gives the public its only opportunity to be heard about the project's impact on their community.
I approach each project with a new insecurity, almost like the first project I ever did, and I get the sweats, I go in and start working, I'm not sure where I'm going.
In 1982 I bought the newly released Makina Plaubel 55mm fixed-lens camera. With this shift from 35mm to 6 x 7, I also changed from black and white to color. Later that year, I started my project on New Brighton called The Last Resort. However, the first project I shot in colour was composed of urban scenes from Liverpool. This image was on the second roll of film. It's the first good photo I made in this new chapter of my work.
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