A Quote by Robert Ben Garant

'Balls of Fury' was a 45-day shoot when it probably - hindsight being 20/20 - probably should've been a 75-day shoot with all the ping-pong action. — © Robert Ben Garant
'Balls of Fury' was a 45-day shoot when it probably - hindsight being 20/20 - probably should've been a 75-day shoot with all the ping-pong action.
My goal is I want to create the 20-20-20 club: 20 sacks, 20 tackles for loss, 20 batted balls.
I'm a nervous wreck. If it's a 20-day shoot, at lunchtime on the first day, I'm thinking "Only 19 and a half days to go... I can make it!"
I play with a lot of guys who say they're a five handicap, and they shoot 110. And then you play with guys who say they are a 20 and they shoot 75.
For me writing is so perplexing, because if we were playing ping pong and we weren't writing - twenty years later you'd be just so much better at ping pong and this confidence with ping pong.
I can shoot pool, and I can play ping-pong. I'm pretty good at those games.
It's very easy to divide a long shoot day into 15 or 20 rounds of 'What do I eat next?'
I saw this thing years ago, where somebody filled a gymnasium with ping-pong balls and mousetraps. And then somebody threw just one more ping-pong ball in there, and literally, in five seconds, the room was popping. And then it was dead. And that's how it was with 'Dallas.' Just... 'boom!'
When you look back on anything in life, hindsight being 20/20, some things you'd like to have done a little differently.
The psychiatric ward was a really creepy place and, hindsight being 20/20, the creepiest thing about it was that I truly belonged there.
'You Can Count On Me' took 20 days to shoot, and we had 50 days to shoot 'Margaret.'
There used to be a period of time when you'd shoot big studio movies where you would shoot a couple of pages a day. For a TV show, you've gotta shoot seven to nine. The schedules are much more compressed.
Hindsight is 20/20, but the moral of the writing for me is that when you're feeling very scared and nervous about something and you're fairly convinced that it could be a massive disaster, that's exactly the idea that you should do.
How do you shoot a 150-day movie? You shoot it one day at a time.
When you're working with a script and you have three pages for that day, you have to shoot that. It can become sort of like a prison, because by the time you've shot what you need to shoot, you don't really have time to think or shoot anything else.
I played some ping pong with the guys on the T'Wolves team. I might have been the champ on that team, too. But ping pong is a big part of my life. I grew up playing it against my brother and my father when I was young. They used to kick my behind for a long time, so I got very good at it.
The great thing about not having a script is there's nothing you have to shoot that day. When you start filming, you can shoot anything you want. There's no pressure to shoot anything. Whatever interests you that day is what you're shooting. That's a big liberation that makes it more enjoyable and more relaxed. I think if you have that kind of framework it can make it a much more satisfying thing to work on and to watch as well.
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