My strength is with actors. I think I'm good at working with them to get the best performances, at seeing what it is that they have and that the story needs.
Sydney PollackRead
At every premiere, I stand in the back, I never sit, worrying. And then maybe I hear them laugh or whatever, and the muscles unclench a little. But always, I feel like it's a fluke, that I'll never be able to do it again.
Interpretation
The quote expresses an artist's anxiety and fear of failure despite experiencing moments of success.
In this quote, filmmaker Sydney Pollack reveals a common struggle faced by artists: the fear of not being able to replicate past successes. Even when receiving positive feedback, such as laughter from an audience, there is an underlying tension and self-doubt that lingers, suggesting that the thrill of accomplishment may feel temporary and undeserved.
In practice
Using this quote in a discussion about the pressures artists face in the creative industry.
My strength is with actors. I think I'm good at working with them to get the best performances, at seeing what it is that they have and that the story needs.
And I taught acting for years, and without knowing it that was the real thing that started bending me toward directing.
If you have a career like mine, which is so identified with Hollywood, with big studios and stars, you wonder if maybe you shouldn't go off and do what the world thinks of as more personal films with lesser-known people. But I think I've fooled everybody. I've made personal films all along. I just made them in another form.
It's my job to motivate the audience to believe. I have to get them to suspend their judgment in favor of involvement.
You hope that the responsibility of making movies will fall into the hands of essentially moral people.
Making a movie is a network of decisions that keep multiplying as you go. You leave a trail of decisions behind you, and that's how you start to see the shape of what you've done. When you get far enough, you turn around and say, 'Ha, that's the movie.' It's only then that you find out if it's going to work or not.
But when I went on the stage to do a show, I would put on makeup because I felt that it enhanced my act; it drew attention to what I was doing.
You don't have to make something that people call art. Living is an artistic activity, there is an art to getting through the day.
You can always make a film somehow. You can beg, borrow, steal the equipment, use credit cards, use your friends' goodwill, wheedle your way into this or that situation. The real problem is, how do you get people to see it once it is made?
There is no rule on how to write. Sometimes it comes easily and perfectly; sometimes it's like drilling rock and then blasting it out with charges.
We are increasingly likely to find ourselves in places with background music. No composers have thought to write for these modern spaces, which represent 30% of our musical experience.
You say grace before meals. All right. But I say grace before the concert and the opera, and grace before the play and pantomime, and grace before I open a book, and grace before sketching, painting, swimming, fencing, boxing, walking, playing, dancing and grace before I dip the pen in the ink.
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