A Quote by Robert Kazinsky

While there are things with this job that remain constant, in terms of how you shoot, the actual crux of the character is always different and always evolving. — © Robert Kazinsky
While there are things with this job that remain constant, in terms of how you shoot, the actual crux of the character is always different and always evolving.
There is always that thought that you might get stuck with a character. But there's always the notion that every character is always evolving.
The idea is to remain in a state of constant departure, while always arriving.
I found very interesting - trying to separate the different facets of Superman in that way. When you're aware of how people perceive you, you can't always remain true to yourself, and that was an interesting thing for me to apply to the character as well - exploring these different facets of his personality while having certain bits of it stripped away. The arrogance of a person who would have the kind of power that Superman does - we see that in The Return of Superman. Superman is not that character, but since he has all of those powers, he has that capacity for arrogance.
It's so much harder to recreate something than it is to shoot at the actual place. It's not without its problems. You've got a lot of bystanders and security issues, but it's always a lot easier and a lot more fun to shoot at the actual location.
I do always like to do things I haven't done before, so I'm always looking out for things in a different genre, or a different sort of character.
I've always wanted to be a DJ so I could play the music I love for other people. That feeling hasn't changed, but my sets are always evolving. In terms of tailoring to a specific crowd, certainly I do play differently depending on the situation. It's a different feel, for example, in a small club versus a festival.
I have a good record in shoot-outs. In such moments, I'm always confident of making at least a couple of stops; I always feel the taker is under more strain. Worrying is the kicker's job, as he's expected to score, while I have nothing to lose.
Fashion is constantly evolving throughout the seasons and within various cultural changes, but the one thing that has stayed constant is how I always want my style to be an authentic, intrinsic part of myself.
For me, the movie's always evolving as I'm doing it. I throw things in as we shoot, and I take things out as we go. I want to create a whole life and then select the pieces that best sort of describe it later, you know? So there's a lot of wastage when I make a film.
There is no normal. What my job was a few years ago was completely different than what it is today. As soon as I have it dialed in, the company changes and the team changes and my role changes as a result. What the company needs is always evolving, and I don't get to choose what I want to do as much as I thought I would be now - which is OK. It keeps me in this position of learning new things and keeping me humble. There is always something I don't know, and I'm comfortable with that.
In terms of negotiating a career - I've always grown up being an insider and an outsider to different worlds, across different classes and cultures, so I have always naturally liked making films or music that puts things in unexpected places.
I don’t think that actors are necessarily any more uncomfortable in their skin than anyone else. I suppose I feel more comfortable in my skin now, but you’re always playing a character, aren’t you? You tell different versions of yourself to different people and vice versa. Here, or in the photo shoot or wherever, it’s a representation of you. It’s not you-you. That’s how you get through it.
I don't know how you make decisions in your life, but I weigh lots of things, and it's not always the purest of things for why I take a job or do this. I always try to think of the many different factors in my life, and not one is pure greed. One is pure quality of life.
I never remain passive in the process of reading: while I read I am engaged in a constant creative activity, which leads me to remember not so much the actual matter of the book as the thoughts evoked in my mind by it, directly or indirectly.
There are always things you wish you could've done better, and there are always things that you wish would've turned out a different way in terms of storyline, which you're not in charge of.
Psychohistory, as a science, will always be problem-centered, while history will always remain period-centered. They are simply two different tasks.
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