A Quote by Ti West
I don't really get that nervous about whether people like it. You can't do anything about that. It's more technical. You spend two years of your life obsessing, picturing sound details, and you work so hard to make a movie a certain way, that you get there, and you're like - is it loud enough or whatever, so that this experience with everybody in this room is the fairest chance I can get. And then if you like it, cool, and if you don't, whatever.
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What happens to women happens to the entire nation. People work hard. But when you're working long hours, you don't get to spend time with your kids, you don't get a chance to take a vacation every now and then, you don't get a chance to make a big purchase (which helps the economy). There's something wrong with that. This isn't about wages, this about quality of life.
There's something really cool about TV. TV, you get the luxury of having the same people around. It is such a blessing when you get a TV job. You really have a chance to get to make, like, work friends. I think TV is one of the few mediums where I've had the opportunity to get to know my crew members.
Here's the truth about telling stories with your life. It's going to sound like a great idea, and you're going to get excited about it, and then when it comes time to do the work, you're not going to want to do it. It's like that with writing books, and it's like that with life. People love to have lived a great story, but few people like the work it takes to make it happen. But joy costs pain.
Some people are really nice about it. I get Saudi princes and famous people stopping me in L.A. and saying, 'You're Stifler's mom. Can I take a picture with you?' But then you get people like her putting their camera in your face without asking. They think they can do whatever they like.
To a certain extent everybody has a certain sort of way of being a persona that they learn how to be when they're really little. They figure out that if they're really funny, or really pretty, or if they work really, really hard or are really smart, then that's what's going to get them by. That is what is going to make people like them.
I like to get on the court three hours before the game. That way, I can get out of everybody's way, and I can do what I need to do for me and get up the shots that I need and then be in the locker room and getting my stuff taken care of physically - if I need treatment or whatever may be.
The two years out on loan were about trying to get experience and work as hard as I could to make sure when I came back I could give myself the best chance to get back to Chelsea and get in the team. That was my goal.
People talk about the hair dryer and all this with Sir Alex Ferguson. What was really great about him, whatever happened in a game, he would spend whatever minutes it took him to get this out of this system and say whatever needed to be said. Once he said, 'Get your bath,' that was it. We knew that it would never return.
It doesn't sound that cool to say it, but I still get nervous for any show. But it's different degrees - playing a small basement of a club versus playing a festival like Firefly or Bonnaroo. The feeling is, 'Crap, I'm about to be blasted in the face,' and once you get started, then it's like, 'OK, I've done this before. I know what I'm doing.'
I like playing... I don't know. I think that's what was really exciting about playing Knives, too, from the beginning was that you get to kind of do both of that. She's almost like two different people, but that's what's cool about it, because I get to show her growth and that's the thing that's really cool about Knives, you get to really see her grow up from being meek and innocent and naïve at the beginning to this powerful girl who is going for what she really believes in and what she really wants.
Every time you get the chance to work with somebody you admire and would like to collaborate with... it feels like the best opportunity that's ever come your way, whether that's in fringe theatre or a really big-budget Hollywood movie.
It's so scary. And then I end up getting so nervous that I get like [I am] now. I get really hyper. [Squeals.] So then I go in interviews and I'm like, 'I'm like a chihuahua! I'm shaking and peeing!' And then afterwards, I'm like, 'I just talked about peeing on the red carpet.'
I love jazz. So to me, there are two main types of jazz. There's dancing jazz, and then there's listening jazz. Listening jazz is like Thelonius Monk or John Coltrane, where it's a listening experience. So that's what I like; I like to make stuff that you listen to. It's not really meant to get you up; it's meant to get your mind focused. That's why you sit and listen to jazz. You dance to big band or whatever, but for the most part, you sit and listen to jazz. I think it comes from that aesthetic, trying to take that jazz listening experience and put it on hip-hop.
I think about the period of, like, the '70s and early '80s where nobody had money to make big movies and there was no CGI or anything like that and people had to get super creative. And then, you know, when you've got somebody who can paint you any picture on a computer and you get hundreds of millions of dollars to make a movie, its almost like the creativity diminishes somewhat.
If your income on films or whatever you're producing using film drops below a certain level, then you don't have enough money to stay in business. People like to say that this is all just about making money, but if you don't make money, you don't make anything.
It seems astounding to me now that the video games are perhaps as important as the movie themselves. And people will spend 2 or 3 years obsessing about the video game in exactly the same way that they'd be obsessing about the movie if they were working on that.
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