A Quote by Samuel Fuller
If your first scene doesn't give you a hard on, throw it out!
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If a story doesn't give you a hard-on in the first couple of scenes, throw it in the goddamned garbage.
My clients train hard. They don't scream or throw weights - they just push hard, trying to get more out of themselves than their bodies want to give, trying to walk that terrible, beautiful line between controlled aggression and all-out insanity.
Choose Life over the other stuff. Get out of your head. Live. Dress up. Eat. Touch people. Help out. Give up. Love people. Give your best away. There’s more. What’s the problem? Relax. You’re going to die. Throw a party. Eat off my plate. Sing to me. Meet me in the bedroom. Get a massage. Give one. Let your amazement out into the room. Pry open the box you hide your joy in. Be a poem.
You can write ten versions of a scene, and then, on the day, discover that something in the original scene worked. It's hard on writers. Hard on actors, hard on editors, hard on me, hard on the producers, who require patience and confidence. But I can't get to the end without going through this process.
Kill what you can't save what you can't eat throw out what you can't throw out bury What you can't bury give away what you can't give away you must carry with you, it is always heavier than you thought.
I don't want to give any lines to anybody because otherwise they come out like bricks from their mouths. The important thing is the meaning of the scene, not the words you use, and I prefer that you find your own words to express the scene.
I was 11 years old and have the same curveball I have now. So I was literally striking everybody out. I always threw hard, and I was bigger than all the kids, so I would throw hard and throw that curveball, and no one could hit me.
I know it sounds silly, but in auditions for film or TV, the words aren't as important - you need to get into the character and have the gist of the scene. But in theater, if you don't do it word for word, then you throw off your scene partner.
You just have to work really hard and throw everything into it. ... It's really hard to be an artist, and even if you do work really hard, there's no guarantee about anything. There's no advice you can give someone that things will somehow work out, but you can talk to people about how they can make art a big part of their life.
Just put football first, or your job first. Give everything you've got all week, work hard, work super-hard to take it to the next level every week. And when you feel like you got to the point where you want to be, you definitely need the time to go out, relax, have a good time, take all the stress off it.
You are preparing yourself for a scene, and the most important thing is to remain emotionally available and remain in the moment with your scene partner. You don't want to let your own self-consciousness block the flow of creativity that's coming out so that you can act and react, and play what the scene is all about.
You work hard on a book and throw it out there and then it's beyond your control.
My father taught me many important giving lessons, but two stand out. First, always give as much as you possibly can. And second, give equally from among your resources - your time, your mind and your capital. These are principles I live by.
My first scene ever on camera was a dinner scene and I ate all the food. They yelled cut and the actor across from me was like, 'You know you're going to have to eat the same thing every single time.' I learned the hard way.
You're going to have to go out there and throw tons of zeroes to give your team a chance to win.
Give God the first part of every day. Give God the first day of every week. Give God the first portion of your income. Give God the first consideration in every decision. Give God the first place in your life.
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