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I don't feel that fear is a good incentive on a film set.
When you start on a new film, no matter how many you've done before that, I think I've done close to 80 films, but it's always kind of a fun adventure.
You have to take chances - working in film is a mixture of luck, talent, and ability to take the risk. You have to be optimistic. You can't be a pessimistic person.
In film, I don't think I'd try directing. Maybe one day, but I'd certainly want to go to film school or something before I tried to do something like that. That would be quite scary.
My other creative outlet is knitting; aside from being fun, it is my antidote to the film business: I have full creative control, there is no development process, and I can self-finance.
I'm a huge fan of film primarily. But, you can get a great TV show and get attached to it. Making a great film is forever though; so I always want to be part of film. It's my first love.
It feels good when it helps to get a good seat for a football game. But it never helped me make a good film or a good shot in a polo game, or command the obedience of my daughter. It doesn
I think what you learn, working on a film or TV set, is how to tune certain things out. You've got 60-100 people swirling around you, each of them with a very important job to do.
Redrafts can be very lucrative for me, but you must understand that if films go through many drafts or writers it's because someone doesn't want to do the picture and never will.
I do play all the characters, when I write them, one after another. If they actually had to film me, the only one I could play would be Samwell Tarly or Hot Pie.
I've dealt with a few method actors, and I don't know if should say this, but I think it's a bunch of nonsense. I think it's film acting and you just have to be on when the camera is rolling.
I won't be able to do a film just for bad reasons, for money or for - I just can't. If I have one more where I feel I can bring you something, I will do it.
Film is a medium of clear lines and broad strikes - which can be fantastic - but compared to the subtleties and nuances of a novel, it doesn't even get close.
I think that Mary Poppins needs a subtle reader, in many respects, to grasp all its implications, and I understand that these cannot be translated in terms of the film.