A Quote by Craig McCracken
Anything you see on the screen was at one point approved by me.
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If I hear that a film of mine is going to be shown on a big screen somewhere and I haven't seen it in a while, I make a point to get to see it. I just want to see it up on the big screen.
A large part of my filmmaking self has to do with my love of being in the cinema audience, and my relationships to what I want to see on the screen, what I have seen on the screen and what I don't want to see on the screen again.
Depending on the point in the game and what's necessary, if you can deliver the play, whatever that is - heck, if it's a screen - and you get a guy open, and he scores a big basket for you, that gives me as much of a charge as anything.
I see myself as a storyteller. So, when I read something, I see the story, and I see it on screen, in my head, in a certain way. I always want to see it and see me in it.
I always direct next to the camera and watch my actors, and so you can see the small things that you can't see on the small screen but you can definitely see on the big screen.
People love to see themselves on screen in a way that makes sense and seems on point.
When people see me as Gavaskar on screen, I want them to feel that they are looking at the person that they have known and when I play on screen, it should remind them of how he played.
I put a lot of time and energy and thought behind what I do and the characters that I create, and I don't want to do anything peripheral that is going to make an audience see me up there on the screen rather than who I'm playing.
I see things in hardcopy that I miss if I only see words on screen. I do get sick of the words, but I like to see everything spread out because I get a sense of scale that is missing from screen. Going over each sentence many, many, many times gives me incredible intimacy with sentences, especially their rhythm. The rhythm and music of words matter a lot to me and it only takes one misplaced word to spoil the music.
I'll remember this to my grave. We all walked into a room to see the screen tests. The first screen test was Marion Hutton's. Then came Janis Paige [who ended up with a part in the film]. Then on the screen came Doris Day. I can only tell you, the screen just exploded. There was absolutely no question. A great star was born and the rest is history.
Gazzy called over to me "I can't see anything!" "I can't see anything either," Iggy complained. "I'm rolling my eyes, Ig." I had to tell him that because he couldn't see me do it, what with his blindness and all.
It's a very different thing when you're able to read something and see it in your mind, then to imagine it on screen. It's emotional transference that you don't have in literature that you have in movies. People invest in the person they see on the screen and they can't shift gears.
I immerse myself in everything I write; I feel what my characters do. I suffer with them. I cry as I type, sometimes to the point that I can't see the screen.
Onstage at Build, Phil Spencer said the Xbox is an open platform - which surprises me, because you have to get your game concept approved before you start developing it. Then you have to get every update approved. Microsoft has absolute control.
[Bill Clinton] approved NAFTA, which is the single worst trade deal ever approved in this country.
Often, when you see yourself on the screen, you feel like a sweater that's been put through the washing machine. You have the impression of having done something full and luminous, and suddenly, when you see it on the screen, it's turned back into a tiny little thing.
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