A Quote by Terry Zwigoff

I think I have pretty good taste in the projects I choose to take on. It's a blessing and a curse - I certainly could have worked a lot more if I wasn't as selective, but I just can't bring myself to spend two years of my life slaving away on some project I'm not really enthused about.
The blessing of having your first project be something as fantastic as 'Girls' is that it gave me room to be selective because I didn't feel pressure to do other things. The curse is that my standards were really high.
I don't want to just add another DVD to the pile. So I think, 'Is this going to have an impact and some lasting value? Is it worth it for me to spend two years of my middle-aged life on this?' They're my criteria, and I think that's led me to more urgent projects.
I don't know the history of hating communism in America. I've always been interested in it, and I've thought about studying it in the past, but I've just looked into other topics first. That certainly sounds like a good topic that we could do on the show. I think it would be really interesting. We would just need to spend a lot of time researching it, getting into it, running down that topic. So I'll take that as a really good pitch for a future episode.
Even if you've gone through an average childhood, you have girlfriends who get pregnant and then have to choose whether or not to have a child. And this stuff certainly makes you think about what you're taking on. I certainly want to have children, but I could never do it until I felt I loved myself enough, and wanted to bring someone into the world because I had some kind of security.
The interesting thing about a lot of serialized television is that it's a blessing and curse. Smart writers really take their time in investing in backstories and characters. As a viewer, you have to invest in them and love them before you can chip away at what's going on more on a deeper level with secondary characters.
Maybe the the luxury of not having acting be my only profession is that I can be more selective about what I choose to be in. I've been really lucky in terms of film projects with people, terrific actors and also writers and directors that I really respect.
Once in a while it vanishes - in the sense that I become deaf to beauty for a week or two or three. This coming and going of the inner life - because this is what it is - is a curse and a blessing. I don't need to explain why it's a curse. A blessing because it brings about a movement, an energy which, when it peaks, creates a poem. Or a moment of happiness.
To think that we as a publisher (i.e. people who have never actually MADE a game) can have a realistic impact on a project that a team of experts is slaving away on full time for 2 years is a bit arrogant.
I've always been really selective. I just didn't have the right to be as selective in other years, I guess. It's very difficult to commit so much of your life to go shoot something that you think sucks, so I'd rather do nothing than go work on something that I really hate. Obviously, there are moments where you have to take jobs for money, everybody needs to pay their rent or whatever.
As an actor, I never really had a strategy. I just take projects, as they come. It all comes down to the writing, at the end of the day, for me. I don't care if it's a two-line cameo or the lead of the thing, as long as the project has some weight behind the writing and it's interesting and I think people will enjoy it.
The conventional wisdom in our business is that you have to grow and keep moving to survive. We never grew, always stayed tiny, and it serves us very well over the years, allowing us to pick and choose projects, and keeping our financial independence from our clients. We actually have a rather good track record, because we do select projects carefully. Most of our ideas don't eat dust but glimpse the light of day because we find it much more helpful to spend some serious time and effort before we start working on a project, rather than suffer through it afterwards.
A good taste in art feels the presence or the absence of merit; a just taste discriminates the degree--the poco piu and the poco meno. A good taste rejects faults; a just taste selects excellences. A good taste is often unconscious; a just taste is always conscious. A good taste may be lowered or spoilt; a just taste can only go on refining more and more.
Stories? We all spend our lives telling them, about this, about that, about people … But some? Some stories are so good we wish they’d never end. They’re so gripping that we’ll go without sleep just to see a little bit more. Some stories bring us laughter and sometimes they bring us tears … but isn’t that what a great story does? Makes you feel? Stories that are so powerful … they really are with us forever.
I do consider myself Canadian, but I feel American, too. I've spent more than fifteen years in each of the two countries, so really I just think of myself as a dual citizen, which is what I am. Thankfully, I've never been forced to choose!
As an author, you spend a lot of time by yourself in a room making clicky noises. It gets pretty insulated. You realize pretty early on in your career that even if this goes well, you could spend all your life in a room alone. Unless you pick projects that are going to get you out doing things, you're not going to actually live your life.
I've liked all the directors I've worked with a lot. And the ones I like best are the ones that have really good taste about what take was best.
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