A Quote by Milena Canonero
When you do your collection, you are much more free. You have fewer boundaries. When you work on a movie, you have to take into consideration the story, the plot, the vision of the director, even the physique of your cast. And then on top of all this, you want your imagination, your taste, and your ideas to come through. But a movie is forever.
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If you hear a good idea, capture it; write it down. Don't trust your memory. Then on a cold wintry evening, go back through your journal, the ideas that changed your life, the ideas that saved your marriage, the ideas that bailed you out of bankruptcy, the ideas that helped you become successful, the ideas that made you millions. What a good review-going back over the collection of ideas that you gathered over the years. So be a collector of good ideas for your business, for your relationships, for your future.
You have sole ownership of your vision. And the Universe will give you what you want within your vision. What happens with most people is that they muddy their vision with “reality”. Their vision becomes full of not only what they want but what everybody else thinks about what they want, too. Your work is to clarify and purify your vision so that the vibration that you are offering can then be answered.
You have to accept that the moment you hand a script to a director, even if you've written it as an original script, it becomes his or her movie. That's the way it has to be because the pressures on a director are so staggering and overwhelming that if he or she doesn't have that sort of level of decision making ability, that sort of free reign, the movie simply won't get done. It won't have a vision behind it. It may not be your vision as a screenwriter, but at least it will have a vision.
Life isn’t happening to you; life is responding to you. Life is your call! Every area of your life is your call. You are the creator of your life. You are the writer of your life story. You are the director of your life movie. You decide what your life will be – by what you give out.
In a rehearsal room, your real resource as an actor aren't the things around you; your resources are your imagination and your director and the other actors. In those close quarters, your imagination and your skills are what you turn to.
I want morning and noon and nightfall with you. I want your tears, your smiles, your kisses...the smell of your hair, the taste of your skin, the touch of your breath on my face. I want to see you in the final hour of my life...to lie in your arms as I take my last breath.
Cast PURPOSE as the lead in your movie and you will help God, your Director, produce a masterwork.
The story, I like to say and remember, is always smarter than you—there will be patterns of theme, image, and idea that are much savvier and more complex than what you could come up with on your own. Find them with your marking pens as they emerge in your drafts. Become a student of your work in progress. Look for what your material is telling you about your material. Every aspect of a story has its own story.
Summer's the same, autumn is even more extreme. Then winter is when you sort of condense all of your ideas. You process all these things and you try to look for new concepts. In that sense, your intuition is in hibernation. What you fill up is your imagination; you fill up your memories there.
Flood your imagination with vision... if your deepest needs, values and internal beliefs agree with your direction, then you're more likely to succeed.
I think the kicks in Wing Chun are enough. It´s much easier to use your hands than to use your feet. Your hand is able to reach your opponent long before your foot. Why take the long way to attack (circle), when there is a much more direct method of attack? If you are using your hands, then your opponent can´t see a kick coming if you have to use it. When you teach Kung Fu, you can fool a lot of people, but not yourself. You can make like a movie and do many complicated movements and kicks, but you only fool yourself as to whether that would work in a real situation of life and death.
I mean, life is kind of like your own movie. You collect your characters to play your friends or acquaintances, your lovers. You're the casting director of your own life.
By now you know: I come from another planet. But I will never say to you, "Take me to your leaders." Even I--unused to your ways though I am--would never make that mistake. We ourselves have such beings among us, made of cogs, pieces of paper, small disks of shiny metal, scraps of coloured cloth. I do not need to encounter more of them. Instead I will say, "Take me to your trees. Take me to your breakfasts, your sunsets, your bad dreams, your shoes, your nouns. Take me to your fingers; take me to your deaths." These are worth it. These are what I have come for.
When it comes to acting on green screen, it doesn't really make all that much of a difference to me because how you interact with your environment or characters is always dictated by your imagination. So when you're acting against a green screen, you have more of an opportunity to create your own world. So what was magical throughout this process was watching this movie come to life with the 3D.
I feel like at the end of your days, the last thing that's going to happen is that you're going to watch the movie of your life. It's very important to make sure that you love your movie and that you want to watch your movie, so I try to always make sure that I'm doing something fun and interesting.
What nobody tells people who are beginners… is that all of us who do
creative work, we get into it because we have good taste. But there is this gap.
For the first couple years you make stuff, and it’s just not that good. It’s
trying to be good, it has potential, but it’s not… your taste is why your work
disappoints you… We know our work doesn’t have this special thing that we want
it to have. We all go through this… It is only by going through a volume of work
that you will close that gap, and your work will be as good as your
ambitions.
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