A Quote by Renny Harlin
You want to do something that shows some type individuality and talent and imagination - at the same time, you want to be truthful to the predecessors, because obviously the audience liked something about them and you have to replicate that experience to a certain extent.
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The scheduling thing is really weird with TV shows. Certain projects haven't been able to work out because of the schedule, so some of it is out of your control. You don't have very many opportunities. There isn't much time, so you want to make sure you're going to be doing something that you really feel good about or that you're going to have a good creative experience doing. You're taking up vacation time from your job, so you want it to be meaningful.
A good horror film is something that taps into something absolutely truthful about us - about what we want, about what we're terrified of - and brings that to life on screen in such a way that we can get close enough to that character to let our defenses down and want them to be safe.
If you test Iron Man and that audience doesn't respond well, you can be damn sure that there is something wrong with the movie that you have to address. Because they're expecting a certain amount of action, right? They want a hero. There are certain things that have to be compatible with the way the audience is thinking about it. If you take some other film, like No Country for Old Men, you can end up with all kinds of crazy reactions.
There are records I'll listen to one time and zero in on what's happening, and then I'll listen again to something I didn't notice the first time. The art of making records is something like this: you want to provide a multiplicity of experience in a single object, which is to say you want layers so that people can revisit and have something revealed to them that wasn't apparent the first time. We often will listen to the same music over and over again, and that tells you something, too.
I do not choose my listeners. What I mean is, I never write for my listeners. I think about my audience, but I am not writing for them. I have something to tell them, but the audience must also put a certain effort into it. But I never wrote for an audience and never will write for one, because you have to give the listener something and he has to make an effort in order to understand certain things.
To put it simply, I'm not interested in making comfortable films, and I don't want to crush the audience's imagination. I want them to feel like they might have missed something.
When I'm an audience member I do not want to go and see something that I already know, I want to see something that I don't know. I want to be surprised and stimulated to think about something. I want the magic. I want to be in a situation of uncertainty; that's what excites me.
Obviously I want the fragrance to smell good. I tell people all the time that when you see someone there can obviously be a physical attraction, but scent is something that stays with you. It's something that you remember about a person.
This fact was something I also learned from this first novel that I needed personal experience to invent, to fantasize, to create fiction, but at the same time I needed some distance, some perspective on this experience in order to feel free enough to manipulate it and to transform it into fiction. If the experience is very close, I feel inhibited. I have never been able to write fiction about something that has happened to me recently. If the closeness of the real reality, of living reality, is to have a persuasive effect on my imagination, I need a distance, a distance in time and in space.
As far as the gambling debts on there, not one cent was any type of sports betting. It's just something obviously I'm not proud of because it drags a lot of other people into this than I'd want. It's something I'm continuing to deal with.
It's always tough when you're off the ice for a while when you've got to come back because you can't replicate the type of cardio that you need to play hockey and you can't really replicate skating at all. You can run as many stairs, or bike as many whatever on your spin bike as you want, but you can't replicate it at all.
Obviously I want to win all the big tournaments - I would hate to look back and not have won them. I also think, for me, there's something about reaching a certain level rather than getting a certain number of wins.
Often people think they know what they want, but what they really want is something that's genuine. So they'll be saying, "Do another one like that," but you liked that one because it's real. So as long as I keep it real and I do something that's real to me, you're going to feel it in the same way.
Now I'm a free agent, literally and figuratively. I've reached that enviable state in life in which I can do pretty much what I want. And what I want is to continue to play basketball. I still love the game, and I still have something to offer. My coaches and teammates recognize that. At the same time, I want to be genuine and authentic and truthful.
Improv is not something I had a lot of experience with, because for a long time, my only experience in front of a camera was all television, which is pretty rigid script-wise, except for the occasional scene where you toss in an ad-lib just to elongate something. Like, say, you're walking down a hall and you just don't have enough dialogue, and you throw in something. But you don't really have time to do other than what's written. It's very rigid. Shows have a certain rhythm that nobody wants disturbed.
Obviously the Internet has become something of a leveler; it was once a luxury to be able to reach a mass audience, and now anybody can do it, to some extent.
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