A Quote by Vishnu Vishal
I prefer exiting from projects that don't meet certain conditions, which primarily have to do with the script. When I'm disturbed, I can't act. I'm no use as a non-actor, right?
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Confusion conditions activity, which conditions consciousness, which conditions embodied personality, which conditions sensory experiences, which conditions impact, which conditions mood, which conditions craving, which conditions clinging, which conditions becoming, which conditions birth, which conditions aging and death.
When you try to be true to the script, changes occur. A script is there to show us a certain direction. But when you actually have the actors in and you start shooting the movie, you have the actor say a line and it doesn't sound right so you change it and make it different. It's the script that gives birth to these changes and the more you try to stay true to the script, the more that happens.
Killers seldom meet the legal standard for insanity, which is quite different from the way most people use the word every day. Killers may be disturbed, but that doesn't necessarily mean that they can't tell right from wrong or are compelled to maim or murder.
I'd rather say no and have said no and do say no often. I walk away from projects if it doesn't feel right; if it's not the right team of people pulling in together or if the script isn't right. It could be a great idea but the script doesn't work.
Great actors are so easy to direct. It's like they're big 747s that you just have to move left and right, and I don't really need to direct. I need to put them in the right costume, with the right haircut, in the right location, and with the right actor to act with. And then my job is almost done, with a great script, obviously.
I choose projects that resonate with me on some personal level and projects that I'm afraid to do. If I'm afraid to do them, then I usually say yes, because it means that I'm not ready to go there and deal with certain aspects of the script.
The pressure to conform to 'politically correct' speech is primarily a pressure not to use certain expressions. But when our freedom to use certain expressions is taken away, then our ability to think in certain ways is also curtailed.
I really had the right nose for making the right decisions, in terms of which projects to do and which projects to stay away from. The people that I ended up becoming very close to in my career are the guys who inspire me.
I do go back to Ireland, and I'll probably be doing a film in Ireland in January, and I guess that kind of keeps me classified as 'the Irish actor,' but the last four or five projects that I've been in are either American or English, so I don't feel terribly trapped in that. But sometimes, yeah, you would like to not be called 'the Irish actor.' You'd prefer to just be called 'the actor.'
The Clean Water Act wasn't designed to allow states to drag out decisions for years or use their Section 401 authority to veto projects of national significance when the projects wouldn't impact water quality.
The heritage of a British actor revolves around the challenges of playing the classic roles to meet certain levels of success as an actor. In America, the heritage of an actor is based on cinema mainly.
The ultimate notion of right is that which tends to the universal good; and when one's acting in a certain manner has this tendency he has a right thus to act.
I choose projects that resonate with me on some personal level and projects that I'm afraid to do. If I'm afraid to do them, then I usually say yes, because it means that I'm not ready to go there and deal with certain aspects of the script. And that means that I need to do it, because the things that scare you only make you better and stronger.
It's weird talking about projects as an actor because you're so in them. I would prefer to write a paper and deliver it to everyone via e-mail.
When I meet a good actor, I would like to be a director. When I meet a good director, I would like to be an actor. When there is a good script, I would like to be both a director and an actor. The switch is very natural, not intentional.
There are certain projects that you love to be involved in, no matter what the capacity, and there are certain projects that I probably wouldn't even consider getting behind.
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