A Quote by Leonardo DiCaprio
The good thing about acting is that it always keeps you on your toes... It's not like any other job where you can go in and do the same thing as yesterday.
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A movie has to get good reviews, high grosses - it has to beat expectations. The same thing with television and the ratings. But being curious isn't like that. It's not a public thing. It's private, and the test is a private one. You have to be on your toes.
The NBA is a job. Just like any other job complaining about opportunity doesn't solve anything. The only thing you can do is control what you can control, and when you are at peace with the work you put in then you don't have any regrets and that's truly the main thing about this journey.
If the idea is you're working at a job solely to pay the bills because you have ambitions to do something else, if you're not actively trying to do that other thing, you've gotta make sure you're doing that. Sometimes you've gotta take away your own safety net. But if you feel miserable in a day job, in any job, get out of that. Look for something else. Stay in that job until you have the other thing set up, and then go to that other thing. But sometimes you've just got to jump out with a parachute and trust that you're going to land someplace safe.
Really good acting is not about dialogue. It's really just about small moments that really make the whole entire scene and the intention completely different than even maybe what the characters are saying. Two characters could be saying, "I hate you, and I don't want to be with you anymore!" But yet somehow, their toes are just inching more, you know, closer to each other. So a really big thing about acting is really just with your body.
Your ideas dry up sometimes, and you get lazy sometimes 'cause you're around the same people. That was the good thing about having different directors. You had to stay on your toes.
Same job, whether it's comedy or drama. Regardless of the weight of the role, I feel like the job is always kind of the same. Who is this person? What's this guy here, and how is he playing with this thing, and what's he trying to say? And what's the volley with all these other people around him?
The thing about acting that's unlike any other art form is that it's collaborative; directing and acting are a collaboration, and your acting won't succeed if the lighting design doesn't succeed or sets don't succeed.
I do find it strange, doing magazine shoots. Photographers always go, 'Why don't you like to have your picture taken? That's what you do for a living anyway. Just pretend you're acting. It's the same thing!'
The good thing about rules is if you have to do an interview, and you make some rules for that interview, like, "I can only ask him about five years of his life or her life," it narrows down your story. It's the same thing with acting. In my profession, if I say, "These are the rules for this character," all of the sudden, you create life.
I think acting is a job where you're always unemployed. You're always looking for the next job, so I assume that it's like other jobs that are with that same kind of setup.
The key thing for a CEO to keep their head in the game is recognize that there's turbulent times, plan for, you know, bad luck as well as good luck, keep people focused on what the key, you know, business wins are, and you know, provide the energy that people always need in order to, you know, to go into battle because, you know, work is hard and go into work and do that well. And provide a good leadership beacon for that. In other words, it's the same thing that makes good leadership in any other time.
Whatsoever then you have well in this world, when you recollect to have done any thing good, be very fearful about it, lest the prosperity granted you be your recompense for the same good. And when you behold poor men doing any thing blameably, fear not, seeing that perhaps those whom the remains of the slightest iniquity defiles, the fire of honesty cleanses.
.. I get more of a dreamy thing from the audience - it's more of a thing that you go up into. You get into such a pitch sometimes that you go up into another thing. You don't forget about the audience, but you forget about all the paranoia, that thing where you're saying, 'Oh gosh, I'm on stage - what am I going to do now ?' - Then you go into this other thing, and it turns out to be like almost like a play in certain ways
A writer's job is not complete without attention to precision. What you're trying to be precise about is your relationship to the observed thing. And "observed thing" could include remembered thing, fantasized thing, fictionalized thing, recorded thing, trans-altered thing. It's the model that's in front of you or in your brain or your memory or whatever. So you're trying to be precise about what it is you're seeing because it's very unlikely that you're going to be able to depict it as it is.
I feel like I'm never playing the same sized venues within two or three shows. It keeps me and the band fit in a way. It keeps us on our toes just because you don't get used to one size and one energy. It's good to switch it up.
If man is not special, if he's not deeply different from any other thing, then there's no good reason not to treat him just like any other thing when it's convenient for us to do so.
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