A Quote by Tom Sizemore
I used to be very rigid because I just wanted to get through it. Now, if I think a scene should go a certain way and it goes another, I'm able to go that new way with ease.
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Now, if I think a scene should go a certain way and it goes another, I'm able to go that new way with ease.
I was never able to analyze my own performance that way I can now. I've realized why certain actors work. I think I'm very in control of what I do in there now. I know how to listen, how to make it real and how not to go to jokes, but to go for a sense of reality.
I wouldn’t go anywhere in confined spaces now. When one person sneezes it goes all the way through the aircraft. That’s me. I would not be, at this point, if they had another way of transportation, suggesting they ride the subway.
I get very close to people when I'm shooting them. We would go and shoot a scene with Lucy, and I would spend the whole time telling her about Rob. Then I would go shoot a scene with Rob and tell him all about Lucy. Eventually they wanted to know each other. These are two people who would never have overlapped in any other way or context. We brought to the garden at Rob's office and just sat and watched what unfolded. I remember weeping behind the camera, because I was so moved by the way they connected.
I used to get so worried that if a scene didn't go a certain way, then it was horrible. But then I realized that it was better to give the director options in the editing room than just being locked into how it's supposed to be.
When we decided to go to Cuba to perform, we did it because we just wanted to build a bridge, you know, between Cuba and the rest of the community. And we just wanted to prove that music and art need to be over all ideology or way to think life, and we just wanted to go in there and play just because of love.
Zach walked away, but I stood there for a long time, wondering if I should go to my mother; if I should go to my friends; but instead I slipped into the corridors I hadn't used in months, pushed my way through cobwebs and darkness, trying to walk away from the tears that burned hot down my cheeks, because maybe I didn't want to admit weakness; maybe I wanted to wallow in my solitude and grief. Or maybe crying is like everything else we do—it's best if you don't get caught.
I think after time goes by and you earn certain rights or you break through certain barriers, you could sometimes, maybe, take it for granted what you have now that you didn't have before. And then that would lead to a certain lack of community, in a way, caring in a way, that I saw before [in gay society].
It used to be that watching a film was a very special occasion, the same way flying was. Before, if you took a flight from New York to L.A., most of the windows would be open. Now, we get on planes and we just close them because we're so used to what it feels like. I think the same thing has happened with cinema.
You have to be willing to look a certain way, and hold your body a certain way, until you get to where you want to go - I'm talking about musically, now.
When I am writing I don't set a certain number of pages. I do know that the further into a script I get the faster it goes. As soon as you start making decisions you start cutting off all of the other possibilities of things that could happen. So with every decision that you make you are removing a whole bunch of other possibilities of where that story can go or what that character can do. So when I get maybe 2/3's of the way through I can see very clearly where it is going to go.
I kind of build a novel the way marine polyps build a coral reef, it's millions and millions of little precarious bodies stacked on one another. And in my case, that's thousands of minutes I go through to get from one scene to the next and build it that way.
I have enough friends who are gamers. I actually enjoy watching them play because of the visuals and the storytelling of the games. I just love being able to go on an adventure and games are just so sophisticated now that you can just get lost in a world for 20 hours and just be someone else in a very visceral, emotional way. And that's just fascinating.
People don't listen to terrestrial radio. They don't find their music that way. They don't get their news that way. They go to blogs. They go through Sirius/XM. They go through all these different places.
Because of the way that I work with the actors and because a scene is not in this rigid and literal interpretation of something written, I can constantly change stuff, which means I can get a scene absolutely perfect, and then when we go to shoot it, the requirements of the shot mean it would be useful to extend the dialogue or take a line out or swap things around. So the camera doesn't serve the action. The action serves the camera. That's important. So it becomes more and more organic and integrated.
Painting to me is constant searching. I can see what I want, but I can't get there, and yet you have to be open enough that if it goes another way, then let it go that way.
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