A Quote by Peter Falk
Certainly, you envy the guys that have done all kinds of things, a variety of good scripts and good directors. Then again, having worked with Cassavetes has satisfied a big part of that.
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I'd worked with directors who wouldn't collaborate. Then I've also worked with directors who didn't really know what they wanted. I knew I didn't want to be either one of those guys - or girls.
I've read a hundred fantastic scripts that didn't pan out as films, and I completely put that on the directors. I've also read some mediocre scripts that have ended up being amazing, and I credit that to the directors. They're the storytellers. If you don't have a good storyteller, you really have nothing.
That really sets great directors apart from good directors: their ability to make you feel like you matter, even if your part is much smaller. That's one thing I found with most of the great directors I worked with: They all have that skill. Not everyone takes the time.
I've turned down good directors before because I knew the part didn't speak to me and I've worked with less talented directors before because the part I had such passion for.
I always talk about shooting being broken down into three things. You have to have some semblance of good form. The second part is repetition: doing things over and over again until you really develop a skillset. And then the third part is confidence. But for me, you can't have confidence without having that second part.
I don't plan or schedule my career thinking first I will play a common man, then a police officer, then a superhero. I love good scripts, and I don't care if I play the main part in it or not. I want to be a part of good films. That's my dream... 'Jacobinte Swargarajyam' was that film for me.
Envy, envy eats them alive. If you had money, they’d envy you that. But since you don’t, they envy you for having such a good, bright, loving daughter. They envy you for just being a happy man. They envy you for not envying them. One of the greatest sorrows of human existence is that some people aren’t happy merely to be alive but find their happiness only in the misery of others.
But then in what way are things called good? They do not seem to be like the things that only chance to have the same name. Are goods one then by being derived from one good or by all contributing to one good, or are they rather one by analogy? Certainly as sight is in the body, so is reason in the soul, and so on in other cases.
I've worked with many directors, good ones and bad ones. So if I have a chance to work the good ones, I better put myself in their hands, and trust them, because that's my big opportunity to be different, and to be better than usual.
The owners don't win by having a lockout. Shutting down your business is not good for anybody and it's certainly not good for the players, it's certainly not good for the fans. And that's most important to us.
Everyone is trying to do something that hasn't been done and that's a really good thing. You can only do so much with a story and some scripts don't give you the opportunities and other scripts do give you the opportunities to do things that haven't been done before.
I've worked with some absolutely wonderful directors who bring out the best in me and I know I can trust, and then I've had the opposite experience, too. I've had both experiences, and obviously one is good and one is not good. When they're great, it's good. When they're not great, it's not so great.
The worst part about loving someone, Merripen, is that there will always be things you can't protect her from. Things beyond your control. You finally realize there is something worse than dying . . . and that is having something happen to her. You have to live with that fear always. But you have to take the bad part, if you want the good part." Kev looked at him bleakly. "What's the good part?" A smile touched Cam's lips. "All the rest of it is the good part," he said, and went.
There are certainly better writers and directors than me, but I have worked very hard to earn credibility within the business as a quality writer and a good director.
I just don't want to be bored. That's the only criteria I have when I choose a role to play. I like it if the script is good and the director seems like he's gonna be good. But if I can find a variety of things to do, which I feel like I manage to do, as far as the actual performing goes and the character, that's huge for me. To be able to feel like I can do a fairly diverse array of things. I've been lucky in that way. I don't mind being stereotyped in some way and playing certain kinds of guys, but if I can find something to occasionally get a break from that, that would be nice.
To me, the producer is there to make sure the album gets done and gets done as good as possible. So if that means that you have to help write a bridge or help write a part, that's what you do. If that means you help tune the guitars, then that's what you do. If that means all you do is tell the band their takes are good and they should stop f——— with things, then that's what you do. If it means you don't do anything except make sure the band doesn't fight, then that's what you do. Sometimes it's a little more stressful than others, but for the most part, you just don't complain about it and you just get it done.
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