A Quote by Sheila Heti
In the transcribing and the editing, you want some retention of how the person speaks - you don't want to edit out all of the hesitations and idiosyncrasies. And to get people to say something they've never said before. That's big.
Related Quotes
Listen, if you don't talk big game, you never get anywhere. If you don't think big, you don't get big. Some people call it egotistical, some people call it high hopes, some people call it confidence. It's all in how you want to dissect it.
I said, I don't want to paint things like Picasso's women and Matisse's odalisques lying on couches with pillows. I don't want to paint people. I want to paint something I have never seen before. I don't want to make what I'm looking at. I want the fragments.
I'm actually a very dark person, so I really want to get into some really dark roles, maybe some thrillers. I've never done one of those, so I think I'd really want to get into that, but definitely something that would get lots of people talking.
So many entrepreneurs approach me and say, 'I want to start the next big thing,' and I say, 'Well, what are you solving?' And oftentimes they say, 'Oh, I'm not sure. I want to start something big.' You can never start something big without solving something small, right?
You don't want to say somebody did a great job of acting. You want to say, "Where did he find that person? How did he get that factory worker to come out of the factory and be on camera?" You want to believe that person is real.
Most young people want to get out of the environment they grow up in, move on, and do something. The big question for everyone is what they want to do and how. It's something that most young people feel.
I generally go into a movie with a very strong vision, with how I want to make the film, how I want to shoot the film, how I want to edit the movie, what I want the sound to sound like. So I have a very concrete idea even if I don't storyboard it, I know exactly what I want to do once I get into the sequence. Now having said that, I try not to let that slave me to the process. So if I do storyboard a sequence I don't necessarily stick to it if I discover more exciting things on set.
One of my younger homies, he went to jail, and some people came to me and were like, "Bail him out," and I said no. Why would I bail him out? He's going to prison. Let him sit and get some time served. You want to be crazy, but you don't want to go to jail. You want to shoot people, but you don't want to kill people. That's such a misleading thing.
One of our first customers asked me how big we want to be. I said I want to be really big. Later, it bothered me that I answered that way. Now I say I just want to be a great company.
When you are converted, you want to do what you didn't want to do before, and you don't want to do what you wanted to do before. There's a change in the heart; there's a cleaning up, a change in orientation, and holiness becomes attractive, instead of something you have to put up with to figure out what you can get away with. As long as young people are asking, 'Can I get away with this?' or 'Can I get away with that?' I wonder if they're regenerate. If they're asking, instead, 'How can I grow in holiness?' then I suspect they've begun to understand.
It's a lot of power to give the director to edit his own stuff. It's also a time thing: you don't want to have to wait for the guy to finish shooting before he starts editing.
I want to see something that I've never seen before, so how can I tell that actor what that is? I'm not trying to construct a document or situation that is what I want, because what I want is something new to me.
A big part of making an album is that you want to have enough material - you want to have enough stuff for people to hear and know that it represents you. So it does sometimes turn into a situation where you're saying to the person you're working with, "Well, what do you want?" But then there are other times when I work with people and they'll turn to me and say, "How do you want to do this?" And that's actually when I work best.
Once you become somebody, that don't mean you distance yourself from people. There is no such thing as no one can walk the streets or go outside. That I will never believe. There might be some fanfare. There might be some paparazzi, but you can control that. All you have to do is maintain the person you were before that when you would tell someone to back up or get out of my way or just stop and address people. Give them what they want. Have a smile, kick a few lyrics, and be out.
Your job as an executive is to edit, not write. It's OK to write once in a while but if you do it often there's a fundamental problem with the team. Every time you do something ask if you're writing or editing and get in the mode of editing.
When I edit the poems - and I do edit, which some people don't mean when they use the term "stream of consciousness" - I'm usually editing toward greater accuracy, which sometimes means more fragmentation, because that is the way I think.
Related Authors
Ayn Rand Quotes
Russian
Writer
C. S. Lewis Quotes
British
Writer
Francois de La Rochefoucauld Quotes
French
Writer
Gilbert K. Chesterton Quotes
English
Writer
H. L. Mencken Quotes
American
Writer
Haruki Murakami Quotes
Japanese
Writer
Kurt Vonnegut Quotes
American
Writer
Leo Tolstoy Quotes
Russian
Writer
Mark Twain Quotes
American
Writer
Mason Cooley Quotes
American
Writer
Ray Bradbury Quotes
American
Writer
Samuel Johnson Quotes
English
Writer
Seth Godin Quotes
American
Writer
Sherrilyn Kenyon Quotes
American
Writer
Suzanne Collins Quotes
American
Writer