A Quote by Padmapriya Janakiraman
In a crazy, high-pressure environment like a film set, eventually a peculiar kind of empathy develops for your co-workers.
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I don't have the story finished and ready when we start work on a film. I usually don't have the time. So the story develops when I start drawing storyboards. I never know where the story will go but I just keeping working on the film as it develops. It's a dangerous way to make an animation film and I would like it to be different, but unfortunately, that's the way I work and everyone else is kind of forced to subject themselves to it.
It's a lot of pressure. Some of the cast wants a StairMaster on the set so you can work out like crazy before your naked scene.
You've got to set your sights high and expect to be scrutinised. When you play for a big club like Celtic, you're always going to come under pressure. That's to be expected.
Obviously, when you come onto a team that's playing in the Finals and the standards are so high that nothing but winning a championship is success, coming in new to that kind of environment, of course you're going to put pressure on yourself.
I had this idea for a long time to make a film about a poet in Paterson named Patterson. I wanted him to be working class. Eventually I thought a bus was a perfect visual way to move him, to drift him through the city, to have a measured kind of routine lifestyle. And all these things kind of congealed into the film "Paterson" eventually.
I think film and television - particularly film - you are very isolated as a writer. If you're lucky, you have a good relationship with the director. Then you do make that development and come on set and be part of something. But ultimately, your work is kind of done by the time you come on set.
There is always pressure. If you make a flop film then you are under pressure to make a hit film. If you make a hit film then you are under pressure to surpass your own standard or at least deliver another hit because the audience also has expectations.
There's a lot of pressure on a film set that's more immediate than the pressure in the theater where you're nervous about what's going to happen next week.
I don't think I could ever have a desk job, so I get to be mobile. I'm on set. I get to walk around kind of doing my own thing, being independent - it's just a really good vibe. Everyone on a film set is very happy, and they all love their jobs, so it's a cool environment to be a part of.
When I did 'Gilbert Grape,' Lasse Hallstrom let me be on the set with him and in the editing room and in the casting sessions and so on. And so I got a firsthand, rather intimate, high-pressure look at how to make a film.
The increase in inequality in income is a longtime trend, but the pressure on middle- and low-income workers is going up rapidly. Especially if they live in an area where there are high housing and gas prices, like California.
Usually naive interviewers hover between two mutually contradictory convictions: one, that a text we call creative develops almost instantaneously in the mystic heat of inspirational raptus; or the other, that the writer has followed a recipe, a kind of secret set of rules that they would like to see revealed. There is no set of rules, or, rather, there are many, varied and flexible rules.
I still to this day maintain that in that million-and-a-half feet of film [Heaven's Gate] that we shot, we thought we were making a great American film. I honestly believe that Michael [Cimino] was under a tremendous amount of pressure, and Michael's response to pressure from what I saw was to double down and to get more aggressive and to get more kind of arrogant, but I don't think it was real. I think it was the response to pressure.
Immigration reform is important in our country. We have a lot of employers over on the beaches that rely upon workers and especially in this high-growth environment, where are you going to get people to work to clean our hotel rooms or do our landscaping? We don't need to put those employers in a position of hiring undocumented and illegal workers.
When on the set of a film, you have to play natural for entire scenes in a very unnatural environment. You have to express emotions and interact with other actors and also use your voice.
[My work] just develops and develops, and I'm very nicely served by the universe: just as I'm ready to take the conversation further with myself, some other individual pops up, like David McKenzie did, with this idea of making this film [Teknolust], and provides exactly the leap to the next adventure.
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