A Quote by Peter Weir
I think Ed Harris is a conscious screen actor, so I think it was strong, it was like he put everything together somehow in 'The Way Back'. He likes, I don't want to say the method approach, because that's not really necessarily his way of working, but it was easy to do because of the location. He'd go off by himself, and they would make things.
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I got off Twitter, because I started feeling like it was not adding anything positive into my life. If anything, it was more negative. But now I'm back on it because it can be fun. I think, as an actor and a public figure, it's a different experience when you put yourself out there in that way. I think it can be a great tool, and that part I'm comfortable with. But the part that's kind of more personal, that part I'm still struggling with, because I don't really want people to know everything about me.
Actors I admire? Ed Harris, or course, I think he's terrific; because I know he always had to fight being what he looked like a lot, but I think he's a terrific actor.
I think all cinematographers, at least most of them, would love to do everything on location because you cannot cheat on location. It's there, it's part of the story usually. You have to deal with the elements. You have the sunshine, you have rain, you have fog - it really makes you work harder to try to match things during the day to make it look like it was shot within five minutes, movie time.
I have several things that I'm working on and trying to put together. It's hard to say exactly what's next. I think I know what it is, but until I'm actually doing it, I never want to say because things change.
Being part of what I call the "click" generation - where everything has to be fast and revolutionary and you just want more, and it's about likes and consuming - I want to bring new things to the table. A lot of designers say they're scared or overwhelmed because everything moves so quickly now. I think it would be scarier if it was too slow. I want to go fast.
Any narrative, whether it's fiction or not, you have to approach it as though it really happened to you. I think that's the only way to get inside the characters and make the narrative work. It's a storytelling tradition, and I think to come off as genuine then you have to really approach it that way.
The inner sort of consumer identity got the best of people. And everybody just wants things for free. And that's created this strange kind of cheapness to everything, where everything becomes throwaway. And people, I think, have started to undervalue things, maybe because there's too much, maybe because it's too easy to make, but I think mostly just because, somehow, that's the pattern that got set. And I think that's regrettable.
It's kinda crazy to say, but the way Jay [Duplass] and I stay afloat, because we don't make particularly commercial fare that makes a lot of money, is that we make things cheaply and we make things small. We would kind of be afraid to go make a $100 million movie because you have to do certain things to it to have it make its money back.
In the past, you would take the time to write a love letter and you would think about what you wanted to say and compose it in a certain way. Now, everything is so short. It has to be, because it is rushed, and therefore, in a way, it loses a little bit of its importance. But I think it is very important to take the time to say what you want to say.
Also, because people like to multitask, in a way if you've got a bit of music on in the background and the lyrical content is making you want to listen to it, then that would probably put you off the texting you wanted to do. I think people like things that just make that right kind of noise, but leave your brain free to do something else.
I think it is just the way he has changed the game overall and his own game because there are so many situations he has faced. He is now competing mostly against himself, like most great cricketers do. I think he has mastered all of them. The only challenge he has is to beat himself every time he walks out there because he has done almost everything.
Because you think an explosion has taken place and you're looking at the shards and you say, 'Well, can we put this back together?' And by God, maybe you can put it back together. And maybe it won't be the same, but maybe it will be different, and maybe it can even be better in a different way.
Puzzles are great because they're fun. But really we are drawn to puzzles because they can be solved. We love the idea of being able to put a puzzle together and it being complete: you do it perfectly, step away, and you've completed the job. There's a deep satisfaction from that, and I think we wish for the ability to do that with everything. But emotions just don't work that way, people don't work that way, relationships don't work that way.
I think normally people think that they're afraid to die but I actually think people are more afraid to live. People are more afraid to make the choices that they want because they're very hard decisions to make in order to be happy. I think a lot of people are really afraid of that. It's easy to be in a band because you have a lot of things to hide behind so that's really not always living...that doesn't always constitute as living life the way you want. But at times you have to make decisions that sometimes hurt others in order to live.
I would love to work with Calvin Harris because I think he's a really good songwriter and producer and he does everything, which I like.
I think it's not an easy task because there's not enough Latino writers that are being given opportunities to write things - and I say this because I've been given a lot of bilingual movies in the past because of my career in Mexico, and they're like, "Oh, it's going to make sense for her to do this." A lot of studios want to hit that demographic, but they sort of do it without starting in the right way, which is having someone who knows the culture, and enjoys the language as well, to be able to write these things.
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