A Quote by Terrence Malick
I have trouble working off things that are too preconceived, like storyboards.
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I actually think storyboards are great. I don't draw well enough to do them myself. I've only used storyboards a couple of times. We used two storyboards in 'Margaret': one for the bus accident and for the opera sequence at the end.
When I got onto set with him we were given a folder of storyboards. I thought that was pretty incredible because I hadn't worked with anybody who used storyboards before so he obviously had a very precise way as to how he visualized the film from the very beginning. It was every scene, but to his credit he was incredibly collaborative and gave us many opportunities to have our own input and to change things with him, so it was a really great way of working.
One of the main things I do is focus on ideas and what stories we decide to tell, but probably the biggest part of my job I'd say is working on the storyboards.
I actually think storyboards are great. I don't draw well enough to do them myself. I've only used storyboards a couple of times.
I'm working with a producer, Scott Jacoby, who co-wrote "Trouble" off No Beginning No End. Without giving away too much, it's a definite pop/r&b vibe, pretty strong melodies, and definitely about songs.
People ask me, 'Why don't you take time off?' but the working class doesn't take time off. They're out there working every day. That's what I do, too. I want them to know there is hope, and I'm out there just like they are.
I feel like when I'm working and when it's not my time off, I like working out alone because it's kind of like that time that my mind gets to just shut off and I can just focus on working on being a better boxer.
Some people like the off days to do a light practice or work on things and then get ready for the next match. I don't mind going out and playing a doubles match and working on returning serving and working on a few things.
The working artist will not tolerate trouble in her life because she knows trouble prevents her from doing her work. The working artist banishes from her world all sources of trouble. She harnesses the urge for trouble and transforms it in her work.
Some things you do-or you're about to do-you can just be like, 'Hey, don't do that because it means trouble.' So I've got to back off.
I've always pre-vized my movies, just on my own. Even when it was, like, zero-budget things, I used this programme to do storyboards because I can't draw that well.
I've always written the storyboards for the music videos, and it's been hard working with directors trying to get them to understand what I'm thinking.
There are a lot of things I love about acting and one of the things I love the most is, here you are taking words off a page, working with someone you might have met just a week before, and somehow you're creating a moment that separates itself from space and time. You feel an incredible rush when you have that moment with another actor. You can feel it bounce off one another. Every take you do can reveal different things that were hiding. And things outside the story get revealed to you, too. It's an incredible way to work and to experience a story.
Working from live models is too much trouble; it takes too much time.
I blame my work for a lot of things. I thank my work for a lot of things, too, but the trouble with being so passionately involved in work is that it becomes like a lover, like your partner, because it nourishes you.
As an actor, I do not come with preconceived notions. I am like clay that can be moulded or like a sponge that can absorb things. I do what the director wants me to do.
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