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I think a lot of the inspirations for me are very instinctual and subconscious. I don't over intellectualize stuff much. It's a very instinctual thing.
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 understand acting and I understand actors. I don't really understand the world of celebrity. That's just bizarre. Those sorts of elements I'm at sea with.
When I left university I was working for a documentary film company for six or seven years to the great relief of my father whose greatest waking fear was that I would become an actor.
You never really know who you're going to be acting with, but that doesn't really matter. 99% of the actors I've worked with, and they number in the thousands, I've liked.
In the case of Wilderpeople, I walked on the first day with some apprehension actually; because it doesn't come anywhere close to anything I've really played before, this part.
Happy roads is bunk. Weary roads is right. Get you nowhere fast. That's where I've got—nowhere. Where everyone lands in the end, even if most of the suckers won't admit it.
They do say money is the root of all evil."I thought that was supposed to be the love of money."There's neat for you. 'Tis them without it that loves it best.
You string some letters together, and you make a word. You string some words together, and you make a sentence, then a paragraph, then a chapter. Words have power.
That was desire messing with physics: putting its finger on the record and then slowing it down, making sure you heard every word spoken, and memorized it.
People do not ever change. The person you see later is merely the one that was hidden from you in the beginning. Shane KP O'Neill - The Gates Of Babylon.
The beauty of a woman is that no two are the same. They are all different. It follows then that to be successful as a lover, you cannot make love to any two in the same way.