A Quote by Nicole Kidman
Sometimes as an actor you're struggling to make things work. That was never the case for me with [Big Little Lies script]. It just kind of flowed out.
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When you start out as an actor, you read a script thinking of it at its best. But that's not usually the case in general, and usually what you have to do is you have to read a script and think of it at its worst. You read it going, "OK, how bad could this be?" first and foremost. You cannot make a good film out of a bad script. You can make a bad film out of a good script, but you can't make a good film out of a bad script.
Sometimes I'll let little things get to me. Or I'll make a big deal out of little things.
The evening was very professionally organized, and most of the people were exceptionally polite, although it did make me a little nervous when one church official told me after the debate when a big crowd of people surrounded me that he had assigned me a body guard "just in case." Just in case what? I thought Christians were suppose to be exceptionally tolerant. Well, in any case, I guess I was grateful for the gesture, "just in case."
There was no hope for any kind of big opportunity. I'm not saying it was hopeless. The big pay-off was to work as an artist and gain some shred of respect from your friends, who were also artists. But there was never any notion that you could make a living out of art. On the rare occasions you had a gallery show, and sold a little work, well, that was just gravy.
It's no big thing, but you make big things out of little things sometimes.
Music was my way out. School was the plan B, just in case music didn't work out. I didn't know it was gonna work out. I just felt like, 'If I'm doing these two things, something's going to get me up there. Something's going to make me successful.'
Sometimes when things are way too big and I can't control it, I do sort of a weird thing where I kind of check out a little bit. It's all about self-preservation for me.
If you are someone like Jeff Koons, and you have to work out how to make a big chrome heart or something, then there are lots of people and a big production involved. The money is more natural somehow. For me, I am just on my own in the studio, trying to make things work. One thing is sure: it doesn't make painting any easier.
As an actor, one is constantly reading scripts and interacting with creative teams. Sometimes, things work and sometimes, they don't. It's never in an actor's hands.
Little things do matter. Sometimes, little things matter the most. Everybody pays a lot of attention to big things, but nobody seems to understand that big things are almost always made up of little things. When you ignore little things, they often turn into big things that have become a lot harder to handle.
In terms of how I work with actors, having worked so heavily on the script I have a very clear idea of the characters; they are reasonably well illustrated in the script. If you cast it right, to a great degree you can hand it over to the actor and I just make suggestions. I'm not the kind of director who needs or wants to get into too much finessing. Ideally, when you hit the set, you have this conversation, like, 'eh, what did you think?' 'I don't know, what did you think?' 'Why don't we just try it again, make a few physical changes.'
The Japanese are virtuosos. They make just the little accent that makes all the difference. So much there is so beautiful - just a shop window display is a work of art. Just the way they make all kinds of things out of bamboo that are so ingenious. Just the way this little bamboo drain or latch is so beautiful. The masonry around the streams to hold the bank are beautiful - and not all one kind and not just cement.
When I was making the early stuff, I never expected it to be so big. I was in my own kind of bubble. I never wanted to tour; I just wanted to create music and make a diary I could put out into the world. And sometimes, I became the characters.
Sometimes you read a script, and it's like, 'You'll improv, and this is just a blueprint of what the scene could be,' and that's never a good sign. And it's never encouraging as an actor to take that on, really.
Sometimes you read a script and it's like, "You'll improv and this is just a blueprint of what the scene could be," and that's never a good sign. And it's never encouraging as an actor to take that on, really.
The worst is when I talk myself into something. Sometimes you take things because you want to work with a certain actor, or you want to work with a director, even if the script or the part's not that great.
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