A Quote by Raul Garcia
In a certain way working in animation has become very democratic because now anyone with the right technology can at least prepare a project from home in order to attract investors. Some people can even set up a small home studio and start working.
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I live in a very small town and now that I've closed down my studio, I'm working at home.
I'm not a home-studio guy. I spend a lot of time working by myself developing songs, but I really need some other counterpart to help me pull it all together, because you go nuts working if I had to finish an entire project all within my own head.
People working in films are somewhat like gypsies: we move from set to set and spent weeks, sometimes even longer working while shooting a film. Right from the spot boys to the make-up guys and cast and crew, we become a kind of family.
Both at-home and working mothers can overmeet their mothering responsibilities. In order to justify their jobs, working mothers can overnurture, overconnect with, and overschedule their children into activities and classes. Similarly, some at-home mothers,... can make at- home mothering into a bigger deal than it is, over stimulating, overeducating, and overwhelming their children with purposeful attention.
On some level, some of the challenges end up being similar, which is when you have a very emotional scene to shoot. As an actor, you have to prepare a certain way, but you also have to prepare a certain way when you're a director because you have to be sure you're telling the whole story.
Usually when I work, I'm totally dedicated to the role, and when I leave the set, I bring some of my character home with me, but I can't bring anyone home with me now because my son would freak out.
Australia is my birth home, so it will always be a home of some sort. But I'm very happy, very pleased to be representing Great Britain. That is my home, and that is where my heart is. That is where I grew up, essentially. So when people ask me where I'm from, where is home, that's where it is.
Once I get on something, once I have something that I'm working on, then I become very obsessive. In a good way. I mean,... is there a positive way to say obsessive? It's a good thing and if you're out there and you're working on something right now and you're crazed and you're up in the middle of the night, or you can't stop thinking about it, or you have to keep reading other things about the subject that you're working on or whatever. That's good and I think that's necessary creatively.
A feeling I got from working at Google was that technology could solve any problem. Yes, it's fantastic, but what I realized later was there's technology, and there's people. Google had its list ordered: Technology. People. And I think the right order is: People. Technology.
I'm always looking for ways that I can work from home with my home studio and stay busy. This is a great way to do it. Having a home studio has made projects like this a lot easier.
I've found great virtue in two-thirds of the way into the message; right before I'm really want to nail home a point, pausing to tell a joke or to tell a light-hearted story, because I know my audience has been working with me now for 20 or 25 minutes. And if I can get them to laugh, get oxygen into their system, it wakes up those who might be sleeping, so there's something about using a story to draw people back in right before you drive home your final point. In that case I think it's real legitimate just to use a story for story's sake.
I mean, there's a sense wherein you skip a part of childhood, too, when you start working at that age I did; I was out working and out of home at 15, paying my own way in the world.
So that studio served its purpose, and still is working very well for other people right now.
Incredibly, oil and gas companies don't have to pay certain environmental costs that amount to small change to them, while an offshore wind project start-up is faced with fees that could mean the difference between building a wind farm and packing up and going home.
Working on location is ideal because you enter the character and the story. Shooting at a studio near home, there's a certain split. But on location, you forget the real world, and when you come back to reality, just going to the market can be traumatic.
When I stop working, I go out and start working again. Most people paint a picture, or whatever they do, and go home. For me, it has to be continuous.
