A Quote by Simon Pegg
I like to work in films, but I'd love to work in the technical side of film. I'd love to work with, say, Greg Nicotero [The Walking Dead] in kind of, like, special makeup effects. I'd probably say, "Good with clay and latex." Although I don't know what kind of job that'd get me.
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I say to hell with the work you have to do to earn a living! That kind of work does us no honor; all it does is fill up the bellies of the pigs who exploit us. But the work you do because you like to do it, because you've heard the call, you've got a vocation - that's ennobling! We should all be able to work like that. Look at me, Saturno - I don't work. And I don't care if they hang me, I won't work! Yet I'm alive! I may live badly, but at least I don't have to work to do it!
The thing is, to try to talk about a performance that will never be seen again, that was only lived by the people there, it's kind of like telling somebody about your dream. You know if they love you they'll listen and smile, but they can't really get it, so there is a certain infinite quality to film that is nice. You do the work and you know it's always going to be there. The flip side is if you do bad work it's always going to be there.
I'm talking about technical goofs. I'm pretty much on top of it. The kind of picture you're referring to would have to be more about the effects of technical things, technical phenomena, and I'm just not interested in that kind of work at all.
A lot of people say to me, 'Stay grounded; be humble.' David Schwimmer was just like, 'You need to love what you do.' And I think that's really nice. Just love your work. My family has given me great advice saying, you know, 'Don't work too hard.' And it's really nice to have someone like that - you know that they love you.
I will tell you that I'm a bit of a snob. I love film, and I would like to work in film, and I'm disappointed that indie film is as hard as it is to work in now. It's hard to get things done, but that sort of work is being done on TV. That's what I do; that's what I write. It's what I love, and hopefully, that's what my future's going to be.
In order to do a good job a person must like what he or she is doing....'Love thy work', and you will be successful..... If you do things just because you have to, then you will never enjoy work. Nor will you do a good job if you do it simply out of a sense of duty. stress is often a by-product of such passive or negative attitudes toward work. Paradoxically as it may sound, love of work can be the best medicine for workaholism.
If you are truly involved in a film and if you are going to do any kind of good work, you have to have that full commitment to the work. If you aren't willing to do that, or if that is not in your nature, I say steer clear of it.
One of the things I really like about doing work online, and the thing I like about the work I'm doing now, is that I get to meet feminists all the time and I get to read new feminists every day on the blogosphere. And it's really that kind of diversity of thought that informs me more than anything else these days. It's just kind of learning something new all the time. And I kind of love that there's not really a feminist canon; or maybe there is, but it's being changed, that it's a constantly moving canon in the feminist blogosphere. I love that.
For any model in this industry, you never know if you're going to get work. You never know if people are going to relate to you, and embrace you. And then being trans is kind of like - I hate to say it - but it's kind of like a setback.
I'm a creative person. I love to write, I love to act, I love to perform, I love to create things with my hands, so I do all of these things that are kind of like hobbies in a way. They're things that I love, so it's not like a work-life balance; it's just a work-life marriage.
For me, coming to a fashion house and bringing my love and respect to it - and, hopefully, earning the love and respect of the house - is the only way to do it. I think of it as my own house in that sense as well. So I like not working from a blank piece of paper. I like that there's something from the past, some kind of identity that I have to work with. There are these good ghosts around, these good energies that kind of reinforce what you do.
When I see films like 'Lagaan' and 'Rang De Basanti,' I feel, 'Why can't I do work like this?' Then you think and realise you need to learn more to make this kind of a film or write this kind of a film. Also, somewhere down the line, you need to be brave.
People say my films are dark. But like lightness, darkness stems from a reflection of the world. The thing is, I get these ideas that I truly fall in love with. And a good movie idea is often like a girl you're in love with, but you know she's not the kind of girl you bring home to your parents, because they sometimes hold some dark and troubling things.
I'd love to work in the States; I'd love to work anywhere where you get a good script and a good part to play. But I do love British film as well.
Our films tremendously influence people. But at the same time, no one goes to the cinema to listen to lectures, so if you have an interesting story, and if you can showcase it as a film, and its messages are good, then it's like an icing on the cake: it shall be a superhit. And if I get those kind of films, I'll definitely want to work on it.
I try to express in my films things that no other art can approach. In my monster films for example, I use special effects in the same way one would use a special film stock, a special camera, and so on. Monster films permit me to use all of these elements at the same time. They are the most visual kind of film.
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