A Quote by Taron Egerton

For my money, when you're doing an on-camera performance, unless it's for something particularly stylised, you are, by and large, striving for naturalism. — © Taron Egerton
For my money, when you're doing an on-camera performance, unless it's for something particularly stylised, you are, by and large, striving for naturalism.
Once a photographer is convinced that the camera can lie and that, strictly speaking, the vast majority of photographs are camera lies, inasmuch as they tell only part of a story or tell it in distorted form, half the battle is won. Once he has conceded that photography is not a naturalistic medium of rendition and that striving for naturalism in a photograph is futile, he can turn his attention to using a camera to make more effective pictures.
The real risk is not changing. I have to feel that I'm after something. If I make money, fine. But I'd rather be striving. It's the striving, man, it's that I want.
In the theater you rehearse in order to do the performance. And in the movies the rehearsal and the performance are kind of the same thing. You're figuring it out and hopefully the camera is pointed at you when you're doing it.
It would be impossible to accept naturalism itself if we really and consistently believed naturalism. For naturalism is a system of thought. But for naturalism all thoughts are mere events with irrational causes. It is, to me at any rate, impossible to regard the thoughts which make up naturalism in that way and, at the same time, regard them as a real insight into external reality...If it is true, then we can know no truths. It cuts its own throat.
Doing good with other people's money has two basic flaws. In the first place, you never spend anybody else's money as carefully as you spend your own. So a large fraction of that money is inevitably wasted. In the second place, and equally important, you cannot do good with other people's money unless you first get the money away from them. So that force - sending a policeman to take the money from somebody's pocket - is fundamentally at the basis of the philosophy of the welfare state.
When I work, I really try to get absorbed in the character. Unless I want to do something playful with the camera, I'm not too worried about where the camera is or positions.
If I could make the same amount of money doing standup it would be no contest. The problem is that if you do make that kind of money doing standup, it's not in clubs, it's in big auditoriums and large venues, and I really think something is lost when you do standup for a big crowd.
If you look at 'Avatar,' could you imagine if you did 'Avatar' for 50 million dollars? It would be ridiculous! You would almost be getting laughs from the audience, unless you got a real indie director to do something incredibly stylised.
I admire David Hare as much as I admire certainly any writer ever. What I like about his writing is it is very conscientiously, in one way, an attempt to reproduce the way people actually speak, but it's not just an attempt at naturalism. It's stylised and it's heightened, to great effect. It's elegant and it's funny and that's the way to my heart, frankly.
One of the best rules anybody can learn about investing is to do nothing, absolutely nothing, unless there is something to do. Most people – not that I’m better than most people – always have to be playing; they always have to be doing something. They make a big play and say, “Boy, am I smart, I just tripled my money.” Then they rush out and have to do something else with that money. They can’t just sit there and wait for something new to develop
A lot of recent comic book adaptations have gone two ways: either they're striving for some kind of realism, like 'Iron Man' or 'The Dark Knight,' or they're very stylised and gritty, like 'Sin City' and '300.'
Money is no good unless it contributes something to the community, unless it builds a bridge to a better life. Any man can make money, but it takes a special kind of man to use it responsibly.
I'm not able to completely escape naturalism. It's very difficult to escape from naturalism without being too dry. That's what I try to do in my cinema - escape naturalism and do films that are, at the same time, realistic but have a lot of fantasy. It's very difficult in cinema to get away from what life is about, from real life. The way the actors work has to be realistic - you can't do Baroque acting - so it's very complicated. And, we're human beings, so we're not perfect. I'm trying to do something different.
Being famous is not something that would make me feel successful - unless one was striving for mediocrity.
Mature striving is linked to long-range goals. Thus, the process of becoming is largely a matter of organizing transitory impulses into a pattern of striving and interest in which the element of self-awareness plays a large part.
It's not worth doing something unless you were doing something that someone, somewere, would much rather you weren't doing.
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