A Quote by Dimple Kapadia
For me, filming is always like delivery pains.
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Kripke says that physicalists like me can't explain the 'apparent contingency' of mind-brain identities. He maintains that, if I really believed that pains are C-fibres, then I ought no longer to have any room for the thought that 'they' might come apart. His argument is that, since pains aren't identified via some contingent description, but in terms of how they feel, I have no good way of constructing a possible world, so to speak, where C-fibres are present yet pains absent.
A lot of time, my inspiration comes from pain: growing pains, hunger pains, or money pains.
I went from basically filming in my bedroom by myself, filming some funny videos, and then overnight, I switched into filming in some studios and some warehouses and family homes. I started filming with directors and producers and editors, and there were so many people in the room, so it was definitely weird.
It is amazing how much more amazing sleep is in the morning. You wake up and you're like, "I stayed up to do what?! Watch Growing Pains? What was I thinking!?" But at night you're like, "La La La La La, Hey! Growing Pains, awesome! And I've seen this episode. That Kirk Cameron's always in trouble."
It's a strange thing when someone passes away. It's always when you're not expecting it that you're affected by it. When we first started filming, we were filming with existing characters in a location that we'd never been before.
I often find myself feeling that filming music is somehow the purest form of filmmaking. This crazed collision of sound and images, the intense collaboration, these incredibly cinematic performances. And for the nights you're filming, a non-player like me gets to feel somehow part of the band.
I was a pizza-delivery boy at the Pizza Oven in Canton. I wanted to get fired so bad, I actually wrecked the delivery car, but they wouldn't fire me. I was the only person they had working there.
I was a pizza delivery boy at the Pizza Oven in Canton. I wanted to get fired so bad, I actually wrecked the delivery car, but they wouldn't fire me because I was the only person they had working there.
I know a lot of brown actors who play terrorists because they're physically intimidating. For me, it was like, 'O.K., you'll be the nerd.' So I've played the nerd. I've played food-delivery guys. But I always tried to find something in the characters so that they weren't just defined by what they looked like.
Whenever I finish filming, it always feels like I'm going through puberty. I've realized that I've come to enjoy this, though it had brought me much pain at first.
I’ve always wanted to be liked. It grieved me that I was treated with indifference. Left an orphan by Fortune, I wanted—like all orphans—to be the object of someone’s affection. This need has always been a hunger that went unsatisfied, and so thoroughly have I adapted to this inevitable hunger that I sometimes wonder if I really feel the need to eat. Whatever be the case, life pains me.
I've tried watching shows before while I'm filming and it doesn't go good because I binge-watch all night and then I wake up with like one hour of sleep on my filming day.
When Baby Boomer women started choosing hotel-like birthing centers over hospital delivery rooms, hospitals quickly wised up. Now even rural hospitals offer well-designed labor-delivery-recovery suites.
Sometimes filming can be grueling when you're shooting the same scene for a week, or you're sitting around for 7 hours a day. They sound like very first-world champagne problems. I don't mean to sound like life is so hard, but filming sometimes is tougher than other times.
Nira Park, who is my longtime producer and friend - I've know her since we did Spaced, the TV show - she gave me this script the last day of filming The World's End. She said, "Take a look at this. It's filming in London next year, and you might like to look at Jack." I trust Nira implicitly.
For me, each one of our SNSD members is like my body. If one gets hurt, it hurts me & pains me even more.
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