A Quote by Sally Field
The only thing that matters to me is getting to the work - getting to do the work. And I don't really care where it is: whether it's on stage or on television or in film.
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I mean, the only thing that matters to me is getting to the work - getting to do the work. And I don't really care where it is: whether it's on stage or on television or in film.
To me the key thing is getting it right. And if a person's really smart and they're doing fantastic work I don't care if they're a high school kid or a Harvard professor, it's the work that matters.
The main thing that's important to me is getting to do whatever project it is the way that I do what I do, and that's different. To go to an entity - whether it's a traditional film studio or some newer company, or HBO, Amazon or Netflix - they would have to know that I need to work the way I work.
As an actor, you're continually riding the waves of whether you're in or out, getting work or not getting work, and Kazan was really a guy who was condemned into not working and looking to go deep into someplace and just live inside his art.
I come from a place where getting a call to do a film is a big thing. I would work double hard to better a partly-convincing film than be without work.
I have always been of the mind that good work is good work, whether performed on stage, on television or in film and, like any reasonable actor, I keep my options open.
That's the weirdest thing about television for me is that you're getting feedback in the middle of the work.
I'm one of those actors who says, "Point me toward the work that matters to me and I don't care where you're putting it. Television show. Movie. Projected on the back of someone's garage." If that's where the work is that's exciting to me and moving, I want to be there.
You do the work and you want people to see it; but, um while I'm doing the work, the result doesn't matter at all to me. Ultimately, I don't, I don't care whether the film is - you know - some big giant box-office bonanza and I don't care if its a complete flop. To me, when a film gets made and it's actually finished it's a success. They're all a success in their own way.
The two most exciting things for me to get to work on 'The Wolverine' was getting to work with James Mangold, the director who directed '3:10 to Yuma' and 'Walk the Line' as well as getting to work with Hugh Jackman.
If you can do your thing on a big stage, it helps, but then to do it against guys that are older than you still gives me confidence that all the hard work I'm putting in is really working and I just got to keep getting better.
I also care that the public are getting their 12 dollars worth when they go to a movie, and that they're not coming out not wanting to ever see a movie with me in it again. I don't care what people think of me as a person, but I do care what people think of my work, and whether I'm investing enough into it.
To do stories that I love, scripts that I love, and work with people who are passionate about them and passionate about projects - whether that's on stage or television or film, that's the kind of environment I want to work in.
It's bred in me that I only see real work as getting stuck in and getting your hands dirty.
Realizing your goal, resolution, or transformation is a journey. Change, like any meaningful endeavor, proceeds sequentially through steps. The journey begins with the contemplation stage of specifying realistic goals, getting ready, or getting psyched. The planning stage is all about prepping. How exactly will I do this thing? At some point you will jump from preparing and planning to perspiring, the work of implementing the new, desired behavior. Getting there is wonderful, but we need to keep you there, which entails persevering through slips and, finally, persisting over time.
If you are a leader, the true measure of your success is not getting people to work. It's not getting people to work hard. It is getting people to work hard together. That takes commitment.
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