A Quote by Richard Gere
Things come out of nowhere, and you start evaluating the director, the cast, and all those other things going into it.
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I pick different projects for different reasons. Usually, it's a combination of things. I admire the director, and I am interested in working with the director. Or, it's the cast. I can be moved by the story. The ideal situation is you love the director and you love the cast.
My job when I'm acting in a movie is very limited to playing a role. I'm not evaluating somebody. I'm only evaluating them insofar as they're interacting with me, but I'm not evaluating their skill set and I don't watch the movies, so I'm not aware of the way they're putting things together.
Many people in Western culture are striving for success. They want the home, they want the great business. They want all of these outer things. But what we found in our research is that having those things, certainly doesn't guarantee what we really want, which is happiness. And that's when all those outer things come. They don't come from going after them first to get the happiness, it's backwards; you go for the sense of inner joy, of inner peace, of inner vision first and then all of the other things from the outside appear.
As part of the process, there are a lot of different ways to evaluate players. There are a number of different companies and things out there that do different things; that have different ways of evaluating and those types of tests and so forth.
Yes, there are things that I can't change, but the things I can, I'm going to do everything in my power to work very hard through them and come out stronger on the other side.
Subconciously, the things you listen to and you believe in, those things are going to come out, you know what I mean? I think you take that and make it your sound; that's what I do when I'm putting together genres of music.
No matter how much good things are going on around you, you still have them little negative things that just wanna come out in front. But you bottle them in because you have so many other great things, but they still there.
The trouble is that when you read criticisms about the other films that I've made you get the impression that they're all about themes, or problems, or ideas. But those are actually things that develop out of characters, out of images and out of other things. These more abstract things develop while working on the material, and out of it. It's not a theoretical exercise from the outset.
Life holds many, many, many mysteries, abstract things we all think about. In a film when things get abstract, some people don't appreciate that and they want to leave the theater. Others love to dream, get lost, try to figure things out. I'm one of those people. I like a film, a story that holds concrete things but also abstractions. So when ideas come along that have those things, I'm falling in love and going to work.
The day it comes out, there's already things that you start to go, 'Oh, I should have done that a little differently.' You start to make a list in your head. I actually write things down -- what I'm going to do next time.
When you start living in with a person, over a period of time, you could start losing interest. That's when you could lose out on important things and marriage is one of those big things.
You're a Nought and I'm a Cross and there's nowhere for us to be, nowhere for us to go where we'd be left in peace...That's why I started crying. That's why I couldn't stop. For all the things we might've had and all the things we're never going to have.
Only grown-ups think that the things children say come out of nowhere. We know they come from the deepest parts of ourselves.
You start to realize connections between experiences and things that push your buttons, and things that have touched you in those vulnerable areas and what-have-you. And they form a little collection over time - at least I do - and as time progresses and new things are learned, you kind of sift through those things until they're air or danceable, you know? But they start as this thing that's either too hard or too soft to dance to.
We like the idea that the things we do seem to come out of nowhere.
You do sometimes have to work on things where you love the cast and you love the filmmaker, and the role might not be great but it's fun. I'm totally down to do those things, and will continue to do those things, as well, but it at least has to be peppered with roles that are really interesting and that are hard.
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