A Quote by C. J. McCollum
I ended up breaking a bone in my foot early in my rookie season, and honestly, it was kind of a blessing. I had so much free time while being laid up that I put a lot of time in on film to understand the game from a different vantage point.
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On stage, everyone stays put; the vantage point is always the vantage point, and you have to play to the size of the house. And of course, on film, there's different angles, different shots, so that determines how animated or how still you must be.
There were many influences on me while growing up. In the late Seventies and early Eighties when I was growing up in Hyderabad, it was a bit more laid-back, and that gave you time to think about things differently without perhaps being caught up in the narrow approach to one's journey through life.
The first time we put Debbie Downer on the show, I had a giggle fit that I couldn't control, and the whole cast ended up breaking so hard we could never quite recover.
One thing that is very different technically is that you don't get a lot of coverage in television. Not like you do on a film. I know we don't have time for separate set-ups, so I will design a scene where I'm hiding multiple cameras within that set-up. That way, if I don't have time to do five set-ups, I can do four cameras in one set-up. It's a different kind of approach for that. For the most part, a lot of television, in a visual sense, lacks time for the atmosphere and putting you in a place.
Having my Canadian citizenship is a blessing at this time, and there's a part of me that feels very much one foot in and one foot out, and I know I can go back to Canada whenever. There are a lot of things that Canada does really well are the same things that are very messed up in the U.S., but I know that's a pretty self-centered stance. I don't know. It can be pretty discouraging, particularly in a city like New York. It's hard to see so many of the issues happening in the country in an up close way, but at the same time, there's a sense of positive solidarity here.
Barbara and I wanted to do a television special, and she put it together with T Bone Burnett, and they came up with the idea of it being black and white. It was fabulous; we had a great time. It was wonderful.
In my opinion, having worked in the games industry and still keeping in touch with a lot of those guys, there was definitely a time when they saw themselves as the little brother of the film industry. But they kind of went off in a different direction and now see themselves, I think, as being far more interesting and ahead of the film industry. They haven't just caught up. They've gone off in a different direction and exceeded the film industry.
Most of the time I am sunk in thought, but at some point on each walk there comes a moment when I look up and notice, with a kind of first-time astonishment, the amazing complex delicacy of the words, the casual ease with which elemental things come together to form a composition that is—whatever the season, wherever I put my besotted gaze—perfect.
I rented a summer home in the winter on Long Island, I took long walks, and then I ended up moving to Woodstock. It was a fertile musical area and time, and I played with a lot of different musicians there, including getting into women's music, and I ended up playing with Cris Williamson.
That cowboy had heartbreak written all over him and she'd be damned if she knew why every time he blew into town she ended up naked before he ended up gone. Reed always ended up gone.
At a certain point, I got interested in set design for the theater. I was interested in architecture, but I was taking photographs at the same time, and architecture, though it had the design element, it didn't have the narrative, emotional element that I was looking to do. I ended up painting for a while. I was dancing around it, and I realized that all these different interests came together in filmmaking.
When I was 16, I'd been cast in 'Fast Food Nation.' And while I was playing in a charity baseball game, I ended up breaking my arm about a week before filming was starting.
My mum enrolled me in this free dance class because I had so much energy in the night-time, and she just wanted me to go to sleep. I ended up falling in love with dancing, singing, acting, the whole entertainment world. Then, my mum ended up taking on an extra job so she could fund me to take singing lessons or go to drama classes.
I grew up loving watching movies, and at a certain point, I started to become fascinated with making movies. Then I went to film school, and I got to dabble with different aspects of moviemaking, and I ended up settling heavily into editing - editing was what I was really adept at, had a passion for.
I'm planning some films in the U.K., and it will have pros and cons. It takes a lot more time to set up a film in the U.K., because you can't rely on much. In Greece, friends show up and bring what they can and you make the film. Well, that's a bit simpler than how it really is. But when you make a film with proper industries, it takes more time to synch all these things.
Considering retirement? When that happens, I don't want that to be the story of whatever the season it is. I don't want to have to be talking about it all the time. My plan is when the time is up, it'll be time to hang it up. When that comes, it'll come. But right now, I don't have any clue as to when that'll be. It's been that way the last couple of years. . . . I've often felt if I ever get to a point where I don't want to go recruiting and can't get excited about it, then maybe it's time. That's a pretty good indication that's probably it. And I haven't reached that point at all yet.
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