A Quote by Oliver Parker
There are certain scenes in the edit you're playing with it and certain scenes don't put back together the way you imagined. Sometimes they're better and sometimes they don't have that thing, so it's never foolproof. But you certainly get an idea that here we've got enough and we've got to move on because you're always against time and money there. Whatever the budget is, you have to get practical about it.
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Sometimes with certain writing, you feel like you've got to be literal, hit it hard on the nose, just to get the point across. Good writing is more subversive I think - or good scenes. They are about one thing on the page but you can make it about something completely different.
I have put together resources from the private and philanthropic communities to help provide a bridge because you've got to get the federal money. You've got to get the state money, but I'm going to do everything I can. And I will be with Flint all the way through this crisis in whatever capacity I am.
It's never the practice to shoot the scenes in the proper order. Sometimes you shoot the final scenes of a film before you've even started the beginning. So you get good at it because you have to sort of just eliminate the memories of something you've done as an actor, which you haven't done as the character yet. But it sometimes is a bit of a mind-f**k.
Fight scenes are like learning a dance. You learn it move by move, and then you put it all together and it looks awesome when you edit it together. It's great!
The biggest difference for me is momentum. On a smaller film you get to shoot sometimes four or five scenes a day and you've got to do the tight schedule. I think I really feel the luxuries of a big budget film.
Sometimes you don't get in through the front door. Sometimes you don't get in through the back. Sometimes you got to climb through the window. That doesn't mean the opportunity wasn't there. There's a way; you've just got to find it.
Sometimes, a scene goes on too long and, with this being a suspense story and murder mystery that you're trying to discover through her heightened paranoia, you don't want scenes that take you on a tangent. Sometimes, you love those scenes, but you know that it's better not to be in the overall film. So, I'm not sad that they're not in the main movie, but I do think it's fun for people to get to watch them, if they want to.
Well I liked the mixture actually. It's really good fun to have throughout a shoot to move from something which is quite character based in certain scenes where there's very little action and you're just working with actors and I suppose I've had quite a lot of practice at that. This is more action than I've had a chance to do so that was fun for me too to go into the action then and have some really good crew working with me. And sometimes you get these scenes where they blend.
Sometimes you start flowing and shits starts adding on to whatever cipher you're dealing with. Meanwhile you got all of these thoughts in your head and you don't get enough time to put them down. That's another reason I started writing from the last word to the front word. It's methods to the madness. Sometimes I can't understand it or explain it but it is what it is.
Sometimes it's great to have a backbone, but you've got to be careful. Remember that sometimes, when you hurt your backbone, you can't get it fixed because you don't have enough money.
Comedy people are always present because they're always looking for the funniest version of whatever the line is. Sometimes theater people, where scripts are sacrosanct, aren't quite as present in scenes. That's a massive generalization, but in my experience, I find that comedy people are great to improvise with and to do scenes with because they're there.
When I rap, I get to express myself in a way where putting words together is like poetry, and sometimes it's better to talk in certain expressions than sing, you know? So I love, I love to rhyme when I want to express certain things.
I like as much time as I can get and I'll do whatever I think is helpful to prepare for a role. Sometimes it's practical research, meaning if I had to write shorthand, I'd learn how to write shorthand. Or if I have to know how to dance a certain way, I would learn that. And then there's just research of talking to people similar to the characters I'm playing. And there's stuff that I just feel is inspiring, whether it be music or a painting or a photograph. I've used a lot of Nan Goldin's photos in the past to inspire me. I use certain paintings and pieces of music.
All I really know in nonfiction is that when I come home, I've got all these notes and I'm trying to figure out what actually happened to me. I usually kind of know what happened, but as you work through the notes, you find that certain scenes write well and some don't even though they should. Those make a constellation of meaning that weirdly ends up telling you what you just went through. It's a slightly different process, but still there's mystery because when you're bearing down on the scenes, sometimes you find out they mean something different than what you thought.
There's never enough time to shoot battle scenes or fight scenes. It always feels rushed. Anytime horses are involved, it eats up time like crazy.
Sometimes I might feel like [a movie] is kind of a weird idea and if I'm going to get enough money to execute it properly I've got to get somebody in it that is going to justify the expense.
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