A Quote by Zoe Kravitz
This might surprise you, but I do feel like I have, because the shooting of all these films was spread out, for the most part. They just happen to be coming out at the same time.
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What I like about their films is that you actually feel the momentum of whatever they're shooting. So, if someone's falling out a window, it gives the opportunity to show what that might feel like.
I’ve basically been working really hard for the past couple years. And the nature of the film business is that movies come out when they come out, and these all just happen to be coming out at the same time.
Obviously, in football you can study somebody, but at the same time, once you get out there, I think there's just a natural kind of feel for where you think guys might be or where they're going to go and knowing beforehand what's going to happen. It's just like chess.
For most of my films, I've had to go out and start shooting before I could get the rest of the funding. That was the case with 'Hoop Dreams,' 'Stevie' and 'The Interrupters:' We started them quietly out of Kartemquin Films, only really going to funders once we had something to show and a firm idea of what the film might be.
Looking back, I feel like I was really young, and at the time I didn't think that I was that young. It was extremely traumatic and awful and horrible. At the same time, it turned out for the best. I'm glad that I'm not there. I'm glad that it didn't happen when I was 50. I'm glad I didn't have kids. And I got that out of the way. Hopefully. Like, that's probably not going to happen again.
There are a lot more shots coming at the net and guys are just shooting it at the net because they have more time and pucks are going in off legs and feet and shoulders and heads, so you might have to play out a little further on the shot and hope it hits you.
I feel like a lot of the stuff coming out right now just feels really inauthentic to me. But apparently, people don't seem to see through it. And this makes me sound bitter, but it's just my perspective. I'm not bitter. I just feel like there's a lot of stuff that doesn't feel like it's coming from a place of any sort of integrity. It just doesn't feel like it's coming from the heart, basically. It just feels like it's being produced because people know it's a formula that will work, or it's easily digestible and fun to look at.
I don't think fast enough on my feet in terms of the writing to change the script too much when I'm shooting it. I like to have it set and done and know that I feel good about it and I might add a few lines here and there while we're shooting, if I think of a new joke, I might toss it in, but for the most part, I try to stick to the written script and have all the latitude exist within that.
I come from a background of hanging out with friends and shooting videos with them, with funny stuff coming out of the group. I guess we got the same charge jocks get out of sports.
I feel it's the conscious mind that messes things up. The conscious mind is constantly telling you, this might happen or that might happen, even before it has happened. Your conscious mind tells you the next ball might be a out-swinger, but when it's coming at you you realize it's an in-swinger... so literally, you've played two balls.
The time that I took between 'Cocktail' and 'Happy Bhaag Jayegi,' a lot of people told me, 'out of sight is out of mind,' and I was like 'Okay, maybe.' And it did happen. Because I wasn't around, people just assumed I was doing other things and was not interested in films which I thought was unfair.
When I came out, I thought coming out meant giving up a marriage and a family. That was, to me, the most difficult part of the coming-out process.
Just hearing somebody's voice in center field, it helps our guards out to know where they need to go, when the screen is coming, when the back door is coming, when the flare is coming. When different things like that happen and we're talking, it helps us all out in the long run.
I was at a Madonna show many, many years ago and I was in the sweet spot and she came out and I mean it was the best part of the show. And I was shooting, shooting, shooting, shooting. And I'm like, "God, I must have shot a hundred pictures have I not run out of film?" And I opened the back of my camera and there was no film in there. So that happened to me only once.
The most dangerous part of the race is early evening and especially early morning. It's the twilight zone. Either you're going into darkness and the sun is dropping down, or you're coming out of the darkness and the sun is coming up. At the same time, you've got new drivers coming in and feeling their way around the circuit.
When you know that something's going to happen, you'll start trying to see signs of its approach in just about everything. Always try to remember that most of the things that happen in this world aren't signs. They happen because they happen, and their only real significance lies in normal cause and effect. You'll drive yourself crazy if you start trying to pry the meaning out of every gust of wind or rain squall. I'm not denying that there might actually be a few signs that you won't want to miss. Knowing the difference is the tricky part.
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