A Quote by Robert Kazinsky

I had a really weird moment when I was doing ADR, and I was watching a sex scene that I was in. I had this really detached moment where I realized I was looking at my own behind in third person.
You're looking, moment by moment and scene by scene, how you can tell the most interesting story. So, we had this great short and we knew that we had a story about a boy and his dog. Because we had that pure emotional core, we could go on crazy tangents and always come back to Victor and Sparky. When I wrote in stuff like Weird Girl and the cat poop, Dutch Day and the windmill, it felt like it was part of Tim's universe.
The moment that I realized my name was going to be said in the same sentence as children and sex, that's really intense. That's something I knew from that very moment, whatever happens past that point, something's out there in the air that is really bad.
I believe, and this is something I also learned from Alice Munro, that there's a moment where the personal becomes totally universal. When you see that person in their pathetic moment, that's the moment where the completely unifying sympathy with that person is possible - where you're no longer a person here and they're someone over there, and you can really feel like one, you can really feel like a human being. Or more like, you can really feel like flesh and blood, because I feel like that moment is the same thing with animals.
We tend to take things for granted that we've had for long periods of time. Take a moment to appreciate the person in your life. Realize why you are with them. Take a moment with them and really be in that moment completely.
Silence is absorption, and when you're watching a film and you're that quiet and you're that still, at least from my experience of watching films, that indicates an absorption, where you're really in the moment. You're really present. What you're seeing is vital to you in that moment, and it's tingling, and it's alive, and it matters.
With 'Taxi Driver,' I had this eureka moment. I realized that acting could be much more than what I had been doing. I had to build a character that wasn't me.
I used to be a lawyer and I quit the practice of law to start writing and one of the reasons that I did that was I had an older sister who was too sick, who had breast cancer and it just got me to this moment of really looking at my life and saying what do I really want to do? What is really going to make me happy? Do I want to be sixty-five years old looking back and regretting not ever having taken the chance or the risk?
I like a director who is very observant and is watching what I'm doing and noticing what I'm doing, but is giving me time to figure it out. They don't jump right in and give you a note before you've had time to really search on your own with how to do a scene.
Father and Mother had told their own little lies very well, and I realized immediately that the Gerrisens didn't know a thing. And yet, my realization that they didn't know what I'd been through was like a cold shower for just a moment. Here I was looking at the first really familiar faces I'd seen in over a year, and they acted as though I'd merely been on vacation.
It was a scene I was really looking forward to, and one that I embraced, and when we were filming it, George got closer and closer and closer with that camera - he was practically up my nose for the final shot. So I knew it was a moment that I had to do my best to get right.
From the age of three to 15, I wanted to be a ballerina and trained really, really hard. Then I had that classic movie story moment, where I had an injury and had to give up my dream.
At a certain moment, when I started doing my own shows, I felt it would be really interesting to know what is the history of my profession. I realized that there was no book, which was kind of a shock.
I realized that what I was looking for was doing collaborations with other people - people who can play a ballad, rock, jazz. I was looking for more co-op type things than what I had been doing, which had been completely my own trip.
Trying to stay in the moment as an actor and being really [present in] what you're doing and the scene that's going on and where the characters have come from, it wasn't difficult, per se, to really embody and embrace.
One of the first coaches I worked with on the national team told me that I was too skinny, too puny, and had no natural acceleration. He said I'd be better off looking for another facet of sport to follow. That was a really, really bad moment. For a long time, I felt as if my dad was the only one who had faith in me.
There was a scene cut out of Big Fat Liar where I had to wear a dress. This may sound kind of weird, but I really enjoyed shooting that scene.
This site uses cookies to ensure you get the best experience. More info...
Got it!