A Quote by Steven Soderbergh
I'm always a little unnerved when I see a show that's set in the past that implies in any way that things were nicer then.
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There is a little bit of hubris to want to change the past. It implies that you know better - that things didn't happen the way that they were supposed to.
You know, life hasn't changed that much for me. It's just, everything's gotten a little nicer. I drive a nicer car. I live in a nicer house.
The way I see it is, you can be a character on a TV show for years, then the TV show gets cancelled and your favorite actress or favorite comedian, you don't see them for a little while and then you see them back doing something else. You can still be enjoying them performing on TV.
If you had your way you’d pass a law to abolish all the little jobs, the little things. But then you’d leave yourselves nothing to do between the big jobs and you’d have a devil of a time thinking up things to do so you wouldn’t go crazy. Instead of that, why not let nature show you a few things? Cutting grass and pulling weeds can be a way of life, son.
The press always ends up being much nicer than I expect. A lot of times they say something snarky about you, but then you meet them in person and they couldn't be nicer.
Originally the structure was . . . a modern narrator who would appear intermittently and talk about his memories of his grandmother, which would then be juxtaposed against scenes from the past. But the stories from the past were always more interesting that the things in the present. I find this almost endemic to modern plays that veer between past and present. . . . So as we've gone on developing GOLDEN CHILD, the scenes from the past have become more dominant, and all that remains of the present are these two little bookends that frame the action.
I think the experience of getting an audience a little bit tense and shocking them with a jump scare, and then moving on it can be cheap and easy. The harder thing is to get them unnerved and disturbed in a growing way. That starts off easy and increases all the way through the picture.
When you are thinking something, you have the feeling that the thoughts do nothing except inform you the way things are and then you choose to do something and you do it. That's what people generally assume. But actually, the way you think determines the way you're going to do things. Then you don't notice a result comes back, or you don't see it as a result of what you've done, or even less do you see it as a result of how you were thinking. Is that clear?
I've never like had a system or a program, I always think that I don't know how to act. I'll adapt to any director because I don't really have a set way that I do things. If a director hires me and says, "I want you to get started right now and do this research, this research, this research and I want you to have every line memorized before you ever show up for the first day," then that's what I'll do.
The 1984 European Championships were held in France and that was something important. I felt on form then, even though I was practically always injured at all the World Cups. It's a great memory. But in any case, the past is past.
There were a lot of lessons of production to be learned. On the page, the biggest thing you learn on any TV show is how to write to your cast. You write the show at the beginning with certain voices in your head and you have a way that you think the characters will be, and then you have an actor go out there, and you start watching dailies and episodes. Then, you start realizing what they can do and what they can't do, what they're good at and what they're not so good at, how they say things and what fits in their mouth, and you start tailoring the voice of the show to your cast.
We always wanted to have this big show. So we just kind of started doing little things, like building our own little props, and starting to put on a show. And we just started seeing the response, and it felt amazing to us, and then I fell in love with it.
I try to think of a way to get there without going past it. There are lots of ways, but they all have me walking a little farther. And that's stupid, I decide. What am I, a little kid? I can stand to see something it hurts to want. I can see it and then just keep walking. It happens to lots of people everyday. We all survive.
Every era of coaches has their own set of problems and challenges. Today's player is different, but some things about them are better than they were in the past. I don't think coaching today's players is any tougher. I think we're a little too hard on the current day player because he's different.
People always put me completely out of the game, and that's even nicer because nobody expects you to do a good job and then you do a better job than everybody thinks and it's nicer.
Any real change implies the breakup of the world as one has always known it, the loss of all that gave one an identity, the end of safety. And at such a moment, unable to see and not daring to imagine what the future will now bring forth, one clings to what one knew, or dreamed that one possessed. Yet, it is only when a man is able, without bitterness or self-pity, to surrender a dream he has long cherished or a privilege he has long possessed that he is set free - he has set himself free - for higher dreams, for greater privileges.
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