A Quote by Saoirse Ronan
I don't look at rushes, or I don't go to the dailies. I don't even really look at playback... unless it's an action scene or a move that I need to do better, something like that.
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I don't look at rushes, or I don't go to the dailies. I don't even really look at playback unless it's an action scene or a move that I need to do better, something like that.
I don't like to watch dailies or video playback unless I have to.
When I'm shooting a film, I don't look at playback. I don't go and do a scene and then hurry up and watch what I just did. I never look at it so I haven't seen any of it.
I never watch the dailies. What I usually do is have a look at the rough or final cut, and I just get something from the story. Sometimes I start composing even before the director has shot anything. The dailies don't help me at all.
When you're in the editing room, as a director, you get the opportunity to look at your work. As a writer, you can rewrite. But as an actor, unless you're watching playback, you really rely on the director to help you.
When you shoot a film, when it was film, there used to be rushes and normally a director would look at them the next day. All directors look at the rushes, except for Fellini. I asked him why he didn't and said, "Because it interrupts my fantasy." What he was trying to say was that he had a three-dimensional, vibrant, living, volatile fantasy going on in his head, and when he looked at rushes, they were two-dimensional and they killed it.
When I first see the dailies, I look only at myself, but then you start to see the scene.
I had no cares. I was one of those kids: ‘If you laugh at me, laugh at me.’ I don’t have that censor, which is important in this business because you’re constantly told: ‘Gosh, you didn’t look very good. You don’t look pretty in that scene, or you didn’t do that right, or you’d look so much better if your hair looked lighter.’ You really have to have tough skin or you’d end up like a heaping, crying mess all the time.
You look at Iran, you look at North Korea, you look at terrorists, we don't even know where to look. We don't know where to look. But believe me, you can look all over, so we are going to do that. We need a form of shield. We want to protect our country.
They think something's gone wrong, but in Don't Look Now, for instance, one scene was made by a mistake. It's the scene where Donald Sutherland goes to look for the policeman who's investigating the two women.
I guess there hasn't been a tough enough opponent for me to fight. But fighting a southpaw is OK. It's something different and maybe I need something different. I look at a right-handed fighter then I look at a left-handed fighter, and it's even better.
I don't know, scene stealing is something I see as, people look at it, it could be a positive thing, but I really like to think of myself as a team player. It's kind of like one player can make the other teammates better, kind of like Larry Byrd dishing off.
Fight scenes are really more like dances than they are fights, because you're depending on your partner to do the right move at the right time. Yes, a tough person or somebody who knows what they're doing will look better in a fight scene, but it also has a lot to do with the other person.
I'm not getting dressed to make a scene or, like, 'Oh, look what Westbrook has on today!' If I like something, I'll put it on. I go to the game. That's how it is.
I know exactly what it's like to stand on top of a tall building or in a high place and look down and go, 'Ohhhh my God.' I try to get into that place every time I write a scene like that. And definitely when I write the action scenes, I get overheated and my heart goes really fast. I get very involved.
I don't really diet or anything. I'm miserable when I'm dieting and I like the way I look. I'm really sick of all these actresses looking like birds I'd rather look a little chubby on camera and look like a person in real life, than look great on screen and look like a scarecrow in real life.
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