A Quote by Ridley Scott
By going to a preview, a director becomes insidiously infected by the process, so by the end of it, you're thinking, 'It may be a bit too long.'
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If you work in the city long enough, it begins to deal with you on a personal level. Streets reveal their moods. Sometimes the signal light loves you. Sometimes they fight you. When you're hunting for a new building, you hope the city is on your side. You have to use a little bit of thinking--you might call it the process of elimination--and you need a little bit of instinct, but not too much of either. If you think too hard, you overshoot your target and end up at the Pier or the Tenderloin. If you relax and let the city help, the destination does all the work for you.
As a director, you're a bit of a dictator. But I feel that you're a better director if you're open to other people's ideas. It means that it's tougher: you have to be in a choosing process; you have to put the ego aside. As long as everybody's aiming in the same direction... I'm open to my main partners in the film crew.
I've learned more, and I understand the process a bit better now. I can try to see how long I want to take in each aspect of the filmmaking process, and then arrive at around the two-year end mark.
I'm not so bothered by the audition process anymore; in fact, I use it. It's a time for the actor to actually get to the know the director and the producers a little bit, too.
As a director, it became important to hear that specific role read by that specific actor, and you hear the chemistry, or you don't hear the chemistry. So I'm not so bothered by the audition process anymore; in fact, I use it. It's a time for the actor to actually get to the know the director and the producers a little bit, too.
For many, graduation marks the end of formal student life - the end of long spring breaks and of thinking that a 10 A.M. class is far too early.
In human history, we are going from knowledge to omniscience, from potence to omnipotence, from ethics and religion to righteousness. So, in my view, God comes at the end of this long process. This may not happen in our lifetimes or even in the lifetime of our species.
There does need to be a speed-up of the process.It takes entirely too long to addres5 some of those concerns and, in the process, it becomes so extremely expensive and cumbersome that it tends to turn away those people and companies that want to provide much needed housing.
Filmmaking is a creative process so there is a lot of collaboration that happens on set between an actor and director, but at the end of the day, we're there to actualize the director's vision and things happen organically.
I can tell you it makes a big difference to have a director who is collaborative. What motivates a character in my mind could be completely different from what the director's thinking. You have to have those conversations ahead of time and throughout the process. It affects the performance.
There is a slovenly disrespect for truth and reality that has infected and cross-infected the arts; the values of entertainment are relentlessly in the ascendant, to the extent that it becomes virtually impossible to write a naturalistic fictional sentence without feeling that the fabric of that sentence is already compromised.
For an actor who has the ability to take a chance, which may make him look like a fool, but may end in the pot of gold at the end of the rainbow so to speak. So you have to take chances to be a bit dangerous and a bit silly every now and then and playful.
My process is thinking, thinking and thinking - thinking about my stories for a long time.
The minute a phrase, becomes current, it becomes an apology for not thinking accurately to the end of the sentence.
This is, if not a lifetime process, it's awfully close to it. The writer broadens, becomes deeper, becomes more observant, becomes more tempered, becomes much wiser over a period time passing. It is not something that is injected into him by a needle. It is not something that comes on a wave of flashing, explosive light one night and say, 'Huzzah! Eureka! I've got it!' and then proceeds to write the great American novel in eleven days. It doesn't work that way. It's a long, tedious, tough, frustrating process, but never, ever be put aside by the fact that it's hard.
In the process of making the record, I was just so bored all the time working whatever stupid job. I felt like a stagnant pond that has algae and mildew and weird animal cells, and I felt like if I sat around not doing anything long enough, that I'd probably end up going a little bit crazy.
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