A Quote by Ted McGinley

You can't work on a film without being changed in some way. — © Ted McGinley
You can't work on a film without being changed in some way.
I don't watch my own past films: when I watch them, I find they don't work very well, because I have changed. If I continue to make films, in fact, it is because I always want to repair my films. My inner rhythm has changed; I have changed. I have changed my way to film.
For some strange reason, we believe that anyone who lived before we were born was in some peculiar way a different kind of human being from any we have come in contact with in our own lifetime. This concept must be changed; we must realize in our bones that almost everything in time and history has changed except the human being.
Film has a tendency to be limiting in some way and it shouldn't be. It's a form that can be explored and changed.
When I think about directing a film, the thing that stops me short is wondering if I'm a natural at it the way I think you, and PTA, and Fincher are born directors. Maybe some people's talent is in understanding the ways that film communicates, without dialogue, without plot.
There are some of us who have to pay for our faith every step of the way and who have to work out dramatically what it would be like without it and if being without it would be ultimately possible or not.
A film like Genevieve to my contemporaries is not a film made years ago, but last week or last year. They see me as I was then, not as I am now. I am the reassurance that they have not changed. In an upside down world, with all the rules being rewritten as the game goes on and spectators invading the pitch, it is good to feel that some things and some people seem to stay just as they were.
The key relationship for writers in film is producers, because those are the first two people involved and the ones who work on it intensely in a private way without the big machinery of film.
I've had so many experiences with film or musicals or books where I just walk away changed in some way. One of the things that makes me want to be a writer is to pour my heart into something and hope that I can affect someone in that same way.
My love for the theater has always been a priority. That hasn't changed. I got into acting that way. The film work that came up was really a surprise.
Every film for every actor is a make-or-break film. I believe every film has the power to break you or make you. So, an actor will treat every film like his last film. That's the way we need to work, and that's the way you can drum up that passion needed to do good work.
The digital revolution has changed the way we do things because you're not under that pressure that film is precious and film is expensive.
In some of the estates, there are generations of people who have been without work, so the environment and the example passed down generations is the normality of being without work.
The main thing that's important to me is getting to do whatever project it is the way that I do what I do, and that's different. To go to an entity - whether it's a traditional film studio or some newer company, or HBO, Amazon or Netflix - they would have to know that I need to work the way I work.
At least I know that one film-maker in my career has had the initiative to come to me and thought of me as being capable of doing interesting and complicated work, and so I have a new-found belief that other film-makers will see me in a different way, the way that Patty did.
I come from a place where getting a call to do a film is a big thing. I would work double hard to better a partly-convincing film than be without work.
The biggest problem is always getting hits. That's the one thing that has never changed. The way of delivering music has changed, the way of listening to it has changed, the way of distributing it has changed, but it's always the music.
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