A Quote by Derek Carr
You can see something on film, but until you're really out there playing against somebody and you see him for the first time, you don't really know.
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The first person who showed me that I could be a maker of music was one of my best friends. It's like, you can't see yourself doing something until you see somebody else doing it. Other people were encouraging me singing, but this was the first time that I could see myself writing songs and playing guitar.
You use marketing to see what an audience's first impression is because that is something you can never really know yourself until you see it.
It's hard to see a film one time and really "get it," and write fully and intelligently about it. That's a review. That's not film criticism. And there's so many expectations involved, too. You're going in to see the latest Martin Scorsese or Stanley Kubrick film, you really have high hopes, and you can't help but find that it's not exactly what you had in your head going in. Until you can watch it again, you can't accept the work for what it intends to be. It takes at least a second viewing.
I think that a lot of the time I don't go for something in particular. I see what comes to me, I filter it out. I never really strive to play a particular character or do a particular genre of film. As long as it's a good script and a great range of people and my character is really interesting I can't see any reason not to do it.
I like the idea of seeing a film that has the artist's hand in there,a film where you can see his strokes, you can see his working patterns. It's like going to a museum and seeing a Renoir drawing. You want to see their work and you want to see how they put it together. For me to see that in animation is really fresh, it's really exciting, it's really original.
You know how, when you fly from coast to coast on a really clear day, looking down from many miles up, you can see the little baseball diamonds everywhere? And every time I see a baseball diamond my heart goes out to it. And I think somewhere down there- I don't see any houses, I can hardly see any roads- but I know that people down there are playing the game we all love.
I'm always trying to make something that is impossible to film. Why would somebody just read a novel when they can see it on TV or in the cinema? I really have to think of the things fiction can do that film can't and play to the strengths of the novel. With a novel, you can get right inside somebody's head.
I liked John a lot. He was the one I really got on with the most. We weren't buddy-buddies but we were always friendly. But after the Beatles and the Stones stopped playing clubs, we didn't see each other that much until he separated from Yoko, around 1974. We got really friendly again. And when he went back with Yoko, he went into hibernation ... when I went to visit someone in the Dakota, I'd leave him a note saying: 'I live next door: I know you don't want to see anyone, but if you do, please call.' He never did.
3D, the ever-changing 3D. It's great. It's been really interesting. My family came to the set a few times, and I see them with their 3D glasses on. It's lovely to have them there and be a part of it, and see the magic that we're playing with, because it really is incomprehensible until you see it on a 3D screen.
If you see somebody really pulling for your sympathy while at the same time hurting you intermittently, you should start to wonder. If somebody plays to your pity and really tries to draw that out of you, that's not normal.
The first time you see the film it takes you right back to those times and those moments. It's very difficult to be objective about the work because you really have to remove yourself and see it a couple of times before you can really involve yourself in the story.
You know something?" He lifted his head, and when he turned to me, he had this strange look in his eyes. Almost as if he was really seeing me for the first time. "I don't think I ever really lived until this. I've never done anything that mattered before, but now I'm fighting to save my life, and yours. And I know it sounds really cheesy and lame, but I don't think I ever really felt alive. Not until I met you.
There is one scene where he is kissing up my back. It is really sexy and I didn't know he was going to do it. He started doing it and in the film you see me saying, whew, and that wasn't acting, that was really me thinking, whew, oh my goodness Daniel Craig is kissing my back! I really did. I had to stop and remind myself that I was playing a character and I was acting in a film.
One of the things that I learned is that you never truly know yourself until you challenge yourself. It is when you are confronted with challenges that you see what you are really made of, what is important to you and what your true aspirations are...sometimes you think that you really know yourself, and then you find out that you really don't.
The guy you see on the screen isn’t really me. I’m Duke Morrison, and I never was and never will be a film personality like JOHN WAYNE . I know him well. I’m one of his closest students. I have to be. I made a living out of him.
A lot of people don't know me. I was a man in a suit for many years, but it's really gonna work to my advantage and I've always known that. I'm turning 30 in a month... that's something for me to look at. Generally when people see me and greet me, they're kind of astonished at what I really am. It's all about playing character and really becoming somebody else. I've always said, "Acting is nothing more than paid schizophrenia if you're doing it right.".
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