A Quote by Sue Naegle
Most development doesn't make it to series. So you want the writer and director to have a really good experience with development because, if it doesn't work out, you want to work with them again. You have to know their work really well, know the drafts really well, and when you give notes, you need to have really thought them through.
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That is one of the reasons one enjoys acting. Now and again, you get scenes where you work with somebody really good and you have a good time trying to make it really work and really work well.
I don't want to do only movies that I'm in. I definitely want to start to branch out and do TV and stuff that I'm not in and really make a good run at it as a production. I'm probably going to take a break from acting after a little while because I've enjoyed the developmental process so much. It helps you as an actor to learn story and to learn how to really nurture a script and work with a writer so you're not sitting there having to write it yourself and give notes.
You want to be confident when you work out because it takes a lot to make you work out. So many women really enjoy it, but it's a hard thing and you have to make yourself do it most of the time. I think you want to feel that you look good to make you want to work out a little bit more.
In my films, I like to use the same actors again and again, so I know them really well and can bring their unique personalities into the process. However, as a director, I have strict control over the way they express their personalities. I don't want them to go beyond what I need from them, but I also don't want them to underplay. So I modulate their performances very closely, within a certain range of expression.
Comedians work great as actors because they're good under pressure. With a lot of actors, you have to make them feel like everything's going really well to get a good performance out of them. But, if you have a comedian on the set, you can tell them, 'Hey, you really are screwing this up,' and then they just get better.
All I really know in nonfiction is that when I come home, I've got all these notes and I'm trying to figure out what actually happened to me. I usually kind of know what happened, but as you work through the notes, you find that certain scenes write well and some don't even though they should. Those make a constellation of meaning that weirdly ends up telling you what you just went through. It's a slightly different process, but still there's mystery because when you're bearing down on the scenes, sometimes you find out they mean something different than what you thought.
I don't follow anything that's said about him much, but the Uwe Boll that I know is just a really cool guy. He's just a really quiet, kind and passionate filmmaker who really believes in what he's doing. Like any director that an actor wants to work with, you want a director who's passionate and believes in the work that he's doing.
With a director it's all about the work; I'd work with a great director over - you know, I'm not the kind of actor who that doesn't go, 'I want to play this role.' It's more like, 'I want to work with this director,' regardless of what the role is because if it's a good director, you'll probably find a good role because it's a decent film. But a mediocre director will always make a mediocre movie.
Every other word out of every other Chinese mouth is "development, development, development, development." And that's what they're talking about it - because they believe it, A, enables them, with development, to have the kind of status they want in the world, and B, it enables them to deal with their internal problems, having to do with poverty, urban-rural as well as the environment.
I'm just a music fan. I like pretty much all types of music, and I feel like I can get something out of everything. It just makes work a lot more fun whenever you're working on different things all the times and usually once I work with a band I usually will want to work with them again, just because we become good friends. That sometimes is the only bad thing, is that I work with bands that I already know. That's not really the best thing in the world because I should always be keeping my eyes out on other things.
The choice that you really have is that you can go and work for TV which is so badly paid that you have to really churn them out which I think probably helps you develop certain muscles. I'm not sure though that you really want to have those muscles as a director.
The judges are fun because they bring different personalities. And it's also really exciting to work really hard all week and then have them either give really good praise or to give constructive criticism.
I know most of my records are real good but I know that there are definitely things I would've changed at the end of the day. I work on things forever, and there are things I wish I didn't do, but ultimately I know the records are good. I kind of let go of big expectations, maybe because hopefully that means if I don't have them, that it'll do really well, but you just never know.
It’s harder to talk about, but what I really, really, really want for Christmas is just this: I want to be 5 years old again for an hour. I want to laugh a lot and cry a lot. I want to be picked or rocked to sleep in someone’s arms, and carried up to be just one more time. I know what I really want for Christmas: I want my childhood back. People who think good thoughts give good gifts.
I have high expectations for the people who work for me. I figure that if they work really hard and do a good job on one of my campaigns or in my office, that experience will serve them well later on.
My passion is creating and marketing. That's what I'm really, really good at, and that's what I find the most stimulating for my brain to work on, so that's what I really, really want to do as opposed to product creation.
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