A Quote by Sonia Braga
Ultimately, you just have to do what feels right for the film. It really helps when you have great collaborators like my editor, Eduardo Serrano, who kept telling me various scenes should be longer.
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I always thought the editor should cut the film and so I'll come in and look at the movie. Just because that's the only way I can really see the ideas of the editor, it's really working together. Yes it's a hierarchy, yes I'm the boss, but I like to see and to think about the idea, and it's about us asking, 'do we have to say that?' and, 'how do we make it there?' So it's advising the editor, it's very give and take, it's very free, but in the end, it's wonderful once you get through the first couple of cuts.
When I was in acting class, we did a lot of really serious scenes, and we didn't do comedic scenes. I felt like doing those scenes, it didn't come out of my mouth the right way. I don't know if it's because my voice is different, or what it is about me, but it just seemed a little off.
My wife kept looking at the Jack Paar show and telling me that's what I should be doing on television. But I kept telling her she was wrong.
I've always been drawn more to film. But 'Bloodline,' to me, feels like a 13-hour piece of cinema. And the great thing about Netflix is you get to be almost like an editor. You choose how much of the narrative you want to watch at a time, which makes you complicit in the story.
Which editor? I can't think of one editor I worked with as an editor. The various companies did have editors but we always acted as our own editor, so the question has no answer.
I don't really mind not being a part of a film - because if there is no part for me, I will never force myself upon a film. I feel like it's just a distraction. If it is not organically incorporated into the story, it just feels like a stupid appearance, like a sort of wink. I hate that.
I think some of this just feels right. You're in the shower and you come up with a sentence and it's beautiful. You don't know how it's going to fit in the film, but you put it in because it feels right. This is a very long way of saying, so much of it is me feeling like I'm catching ideas rather than coming up with ideas. It's very fluid like that.
A waiter at the hotel kept telling me that Cape Town is just like a European city, but it's not like that at all. It doesn't feel safe, and I didn't really go out at night.
One of the great things about the film being so unusual and provocative is the filmmaker to me doesn't seem to have a definite opinion on the rights or wrongs or the immorality of behaviors and systems, he just presents a set of very unusual circumstances and asked the audience to partake in the judging of what feels right or wrong or what feels natural and unnatural.
I never really set out to be a comedian, but as a kid, I loved doing sketches and playing characters. And then a great friend kept telling me I should be a comedian, so I followed her advice and gave it a shot.
Practicing going over scenes and in front of the camera just to see how that feels, and then ultimately just finding a way to expose yourself to people. That’s what I did.
Practicing going over scenes and in front of the camera just to see how that feels, and then ultimately just finding a way to expose yourself to people. That's what I did.
I've always felt that my life's been at the right place at the right time; I feel like there's been some really dull moments, really high moments, really low moments, but it's always felt like everything's moved in the right direction; it always feels great, and everything feels right.
The great film editor is not a cutter, he's a storyteller, right?
I find that getting something on the screen as soon as possible really helps focus the problem for me. It helps me decide what to work on next. Because if you're just looking at that big to-do list it's like, eh, I don't know which one I should do—does it matter which one I do? But if there's something you can actually look at, even if it's just the debug output of your mailbox parser, it's like, OK, there!
Mr. Hitchcock taught me everything about cinema. It was thanks to him that I understood that murder scenes should be shot like love scenes and love scenes like murder scenes.
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