A Quote by Mike Birbiglia
Once you've made your first feature, you know what you can do wrong and how hard it is to shoot a feature. Before you do it, you just don't know how hard it is. Once you've done it, when you're writing a second one, it's almost like you're preparing, and it's almost holding you back.
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What is the best way to look for one´s chief feature?" someone asked. Simply see yourself. I do not know how to explain it better. It is possible one may find something -- chief feature of the moment. It is imaginary personality; this is the chief feature for everybody."Can one alter one´s chief feature?" asked someone else. First it is necessary to know it. If you know it, much will depend on the quality of your knowing. If you know it well, then it is possible to change it.
Even though it's hard to learn how to back your car out the driveway at first, once it becomes a habit, you can do it almost automatically and think about something else, like the meeting that you need to go to today or what's on the radio.
The time that it takes to make the feature is really contingent on the feature being sort of almost ready-made - so coming to a book is more ready-made. You at least have the story that someone sorted out.
We made four feature films with Sherwood Baptist. The wonderful thing was the church (members) volunteered. It was an awesome atmosphere of attitudes. The hard part was (that) all four of the first feature films we made take place in modern-day Albany, Georgia. We know that not all of our films going to be (set in) modern-day Albany, Georgia.
I just know that making 'Beast' was an amazing experience. It was my first feature, it was the director's first feature, and every day, you're just trying to do good work and learn.
As a man and as a sports figure, you have to set limits and set boundaries on what can and cannot happen. Once you do that, your family will start to respect you. 'OK, I get it, he's all about football and handling his business,' and that's what I've done. In the past, when I was a young man - a younger man - it was hard for me to say no. Since I'm older, wiser, I know how to handle people, know how to say no, know when something is right and something wrong. I use proper judgment.
There's no point putting your heart and soul into a part when you know in advance it isn't worth the trouble. I'm not speaking as a dedicated actress. Enthusiasm and hard work are requisites for any job a person undertakes. I tried working just for money once and it made me almost physically ill.
One often feels as though something had happened before, I remember. It comes quite close to you and stands there and you know it was just this way once before, exactly so; for an instant you almost know how it must go on, but then it disappears as you try to lay hold of it like smoke or a dead memory. "We could never remember, Isabelle," I say. "It's like the rain. That has also become one, out of two gasses, oxygen and hydrogen, which no longer remember they were once gasses. Now they are only rain and have no memory of an earlier time.
I don't know if the scripts are changing so much. I mean, I've been working for almost 25 years and made over 40 films and I worked with my first female director, on a feature, "Planetarium". And it's still the only one.
I think making shorts is really about giving yourself the opportunity to learn what your strengths and weaknesses are. That's really important to know before getting to your first feature. In many ways you can't afford to make too many mistakes while on that feature.
God himself was once as we are now, and is an exalted man, and sits enthroned in yonder heavens! That is the great secret.... It is the first principle of the Gospel to know for a certainty the Character of God, and to know... that he was once a man like us.... Here, then, is eternal life - to know the only wise and true God; and you have got to learn how to be Gods yourselves... the same as all Gods have done before you.
It's a hard thing to do, to be given a script, and know that you've got to turn up on the first day of the shoot - generally without having had any rehearsal - and present a character. It's really baffling; it's incredibly hard to know how to begin, to approach it, other than just thinking about it.
Everybody gets all worked up about trash talk but it is what it is - it's talk... You ask any player, honestly, if trash talk's gonna affect how hard they play, because if a little trash talk affects how hard they can play, it just lets us know that they were holding back or weren't playing harder or as hard as they could.
As soon as I finished film school I was thinking about, how do I get to feature films? It took about eight years, and I'm still working. Feature films was not the end goal. Feature films was one of the stages. Getting to the point of the Coen brothers or Tarantino, where you're writing your own material and have the budget to do it properly, that's the end goal, and I'm close to that.
It's no mystery why many of us in the media can't get enough of the fabricators Jayson Blair and Stephen Glass, the latter of whom concocted more than a score of bogus feature stories for the New Republic (and who wrote for other magazines, including this one, once) in the mid-1990s. Anyone--journalist, student, academic--who has ever stared at a blank screen, their brains grinding emptiness, and thought, How can I fill this hole? knows that in those desperate moments before a deadline, almost anyone can do almost anything: make stuff up, plagiarize, scribble senseless half-truths.
As long as you win Monaco, that's the one. In my ten years of Formula One, I've only won here once. This is my second time.Every year, it feels like this is your Achilles heel. You almost have it and then you don't. It's such a hard race to win.
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