A Quote by Ralph Fiennes
In the best material, you always should be able to somehow make a case for a story to be transposed to any other time.
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Technique in the minds of many is something rigid, something like a formula that you impose on the material; but in the best stories it is something organic, something that grows out of the material, and this being the case, it is different for every story of any account that has ever been written.
I can't say that the ending of a story is always the best part of the story, and yet there's sort of this implicit idea that the finale is somehow supposed to be the mind-blowing best episode of a show. The question is: Why is that? Why do people make that assumption?
Of course, I want to look the best I can, but I am playing characters that should match my age, and the women and the material that I am interested in are usually going through something. I have to be able to live in my face and tell the story of the character I've taken on.
A collection of plants is not a landscape, any more than a list of choice words is a poem. The merit is in the design, not the material it is expressed in, and the best designs, like the best poems, make ordinary material significant by its arrangement.
Increasingly, there's much better material on television, but there's not always the time and money to make it, so you've got to make sure you make it in the right place. It also depends on time commitment; a lot of directors will make a pilot, but a series is just a whole other level of involvement.
Take the [1980] Jimmy Carter-Ronald Reagan debate. Carter kept trying to imply that somehow Ronald Reagan was going to push the button, or was irresponsible with nuclear war. You might have been able to make the case that Carter was responsible. But it's very tough when you see a person with Reagan's nice-guy persona up there to believe this guy somehow wants nuclear war, that he somehow wants to antagonize the Russians into an attack. It's just not credible; it doesn't cut with what all your other senses are telling you.
I really have always thought of myself as somebody who lives in the middle of the wheel and is able to go to the extreme, to the outside of the wheel in any direction. The best case scenario for me is to be able to be centered and then go out.
I never make a distinction between doing a film in Hollywood or doing a film independently. It's just the story. It's always the story for me. The constants are that it should challenge me and I shouldn't repeat myself. And the story should always be a story worth telling.
You have to believe in yourself and always strive for the best. Whether that is getting the best actor, the most talented cinematographer, or the best location for your story, you have to have the hunger to want it and be willing to do what it takes to get it. A filmmaker should never be satisfied with their work. There should always be something that they want to improve on.
The best adaptations are the ones that really excavate the material. The movies that work are the ones in which somebody very smart figured out how to take all the thematic material, all the character material, all the filigree, all the beautiful writing and put it into a story.
I think sometimes we look at other people's marriages and we think they must always be so happy together. I don't know anybody who's married for a long time who hasn't somehow made room in their love story for the hate and resentment that they sometimes feel toward each other.
We have known each other for a long time, and I've always known the real Paris. I always knew she was like wife material or serious girlfriend material.
I used to worry that I had a finite supply of ideas, that I should hold on to each of them in case it was the last. But then I talked to other cartoonists, and I realized ideas are cheap; you can have a million ideas. The tricky part is the follow-through: making good ones work, making the best out of the raw material!
I feel like any actor should always be thinking about how to serve the story. The thing to be cautious of is trying to make too much of your 'moment,' or whatever. The story is a lot bigger than you, and you're there to help it along.
I suppose at one time in my life I might have had any number of stories, but now there is no other. This is the only story I will ever be able to tell.
I think it's absolutely possible to write a song and go somewhere where no one's been before, uncharted territory. In terms of content, I see limitations where there should be none. I know there are things I wouldn't write about, but that shouldn't be the case. You should be able to make a song out of anything, out of any situation.
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