I learned a lot from Clint [Eastwood], who's an extremely economic director. I learned a lot from Michael Winterbottom, who really gave a lot of trust in the actors and allowed them to live in the space instead of trying to manipulate and make it too set and too staged. Working with [Robert] De Niro taught me a lot of being an actors' director and what that is. I've learned a lot from pretty much everybody. Hopefully I've picked up something from everybody I've worked with.
It's such a pleasant experience [to work on Harry Potter], though very nerve-wracking to come on to someone else's set, essentially. They've been there for two years, so for me to sort of walk on and to be expected to jump into it, it's not always that easy. But they made it incredibly welcoming and hospitable, so I'm very grateful for that.
The top 25 at every company really set the tone. Everyone watches them. They need to be present and focused. No slackers at the top. They need to meet in combination every recruit. They need to meet them on the first day. They need to teach by example. This is the lesson that great companies teach.
Everywhere I find the signature, the autograph of God, and he will never deny his own handwriting. God has set his tabernacle in the dewdrop as surely as in the sun. No man can any more create the smallest flower than he could create the greatest world.
I know what I want. I try and convey that at the beginning and set that out, but within those parameters, I'm very happy for them to experiment and try things and give it a go. To me, it's important.
I actually have heard of acts who only do their new album, and don't do their hits. I've never been in that mind set.
I don't want to be that guy on some set he doesn't want to be on. It just bums everybody out.
If you want to be a virtuoso then you have to set your sights above me. You have to go beyond what I'm doing. And that's for you to figure out. Because if you can do that, then I'm going to be trying to go beyond you.
I know what to do with the camera because I see the giant in the camera when I'm operating it live on the set.
Within a Metaphysics of Quality, science is a set of static intellectual patterns describing this reality, but the patterns are not the reality they describe.
Consider that we live in a world predicated upon fear. The underlying assumption is that human beings are innately evil and must be groomed and controlled. That is the dichotomy that is set up within the human mind, good and evil.
Systems governed by only one set of rules are more vulnerable than those with variety.
IN PERSIA I SAW that poetry is meant to be set to music & chanted or sung--for one reason alone--because it works. A right combination of image & tune plunges the audience into a hal (something between emotionalaesthetic mood & trance of hyperawareness), outbursts of weeping, fits of dancing--measurable physical response to art. For us the link between poetry & body died with the bardic era--we read under the influence of a cartesian anaesthetic gas.
Before you attempt to set things right, make sure you see things right.
I don't get intimidated. When I'm on set, I never really get intimidated by people. But in social situations, it's weird sometimes. You don't want to seem like you're kissing somebody's ass because they're a celebrity.
The fifth set is not about tennis, it's about nerves.
Since I was not able wholly to subscribe to any one set of beliefs advanced by any 'guru' I had to fall back on my own, however derivative.
Sun and moon and day and night and man and beast each with a splendor which man in all his vileness cannot set aside; each with an excellence!
Tell us what it is to be a woman so that we may know what it is to be a man. What moves at the margin. What it is to have no home in this place. To be set adrift from the one you knew. What it is to live at the edge of towns that cannot bear your company.
I've governed from a consistent set of principles
