A Quote by Ray Fisher
Sometimes you're talking to a tennis ball on a stick, and you have to imagine what is supposed to be there and trust that the editors and the animators are going to make it all convincing to the audience. You have to pull a lot from within.
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I feel as though I stand at the foot of an infinitely high staircase, down which some exuberant spirit is flinging tennis ball after tennis ball, eternally, and the one thing I want in the world is a tennis ball.
Yes, because it's Len's obsession with practical. I've never really had that experience that I hear people having of being on an empty soundstage painted green talking to a tennis ball on a stick.
It takes courage to pull the ball down and reverse field and do some of the crazy things that Favre and Manziel do. There's going to be consequences when sometimes it doesn't work out. But it takes a tremendous amount of guts and courage to go make a play when there's nothing there instead of throwing the ball away.
There are times when the writers ask us to improvise. Sometimes the animators are inspired by what you do, and sometimes you are inspired by what the animators do.
Technically, the green screen acting can be difficult because there's something worse than a tennis ball on the end of a stick; it's an Australian visual effects assistant running around a field with a cardboard dinosaur head on the end of a stick while wearing sandals.
You make a movie and it's like convincing people to go on an expedition with you. You think you know where it's going to end up, and you're hoping and guessing. But, when people trust you and get involved, based on that trust, it's a really nice feeling to be able to have everything pay off.
It's difficult for most people to imagine the creative process in tennis. Seemingly it's just an athletic matter of hitting the ball consistently well within the boundaries of the court. That analysis is just as specious as thinking that the difficulty in portraying King Lear on stage is learning all the lines.
The primary conception of tennis is to get the ball over the net and at the same time to keep it within bounds of the court; failing this, within the borders of the neighborhood.
Women's tennis? I think it stinks. They hit the ball back and forth, have a lot of nice volleys, and you can see some pretty legs. But it's night and day compared to men's tennis.
On crosses, sometimes I make my move one or two seconds before the ball is coming because I'm trying to guess that the ball is coming there. It's intuition. So I run. Sometimes the ball comes...sometimes not. But that intuition is working.
As far as chemistry is concerned, the audience is the best judge. Professionally, I am supposed to look as convincing as possible opposite my hero.
When I'm talking to a large audience, I imagine that I'm talking to a single person.
To act with a tennis ball and imagine it's a tentacle, or if you're in some kind of wilderness film and you go, 'Okay, we can't have a grizzly bear here, but imagine when you step over the rock there there's a grizzly bear.' I don't know. They're tough moments.
In tennis ball cricket, even it's hit from the toe of the bat, the ball still travels a lot, but in normal cricket, it has to be the middle part of the bat, so it requires a lot of work.
I actually enjoy working with green screen, because I can imagine all that stuff happening, and I really cut my teeth on a movie I made called "Adaptation" where I had to imagine four-page dialogue scenes with my twin brother, who was nothing more than a tennis ball and a gas stand.
Cricket and tennis are very different skill sets, but I've played tennis all my life, so it's a lot easier coming back than learning how to face a cricket ball for the first time.
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