Pawel Pawlikowski Quotes
I try to turn a place on film into a mental state. I always have three or four locations that I repeat and return to in a film, to make it more mythic. But my fiction films are relatively subjective stories, experienced though one character. And that always justifies a little stylisation in terms of landscape.
Quotes to Explore
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Comfort and luxury are usually the chief requirements of life for your ego - its top priorities tend to be accumulations, achievements, and the approval of others.
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People think I look odd onstage. But the way I deal with being incredibly nervous is by concentrating really hard.
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I am a little obsessed with surprise kitty.
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I have two older brothers. I am the baby. We're all very, very close. We're great communicators, so we get along really well.
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If you have not been a villain at a certain point in time, you will never be a hero. And the day you are a hero, you may become a villain the next day.
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I was with the Jessie Bonstelle Stock Company in Detroit and Buffalo for three seasons - 10 performances and a new play every week. She was an amazing woman who did a great deal for me.
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I was a breakdancer as a kid. I was on one of the top break dancing teams in Australia.
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Man can never be a woman's equal in the spirit of selfless service with which nature has endowed her.
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Mind is everything. Muscle - pieces of rubber. All that I am, I am because of my mind.
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I'm a warrior for the middle class.
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We have a great country, we are a great nation - let us trust in it.
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The first time I worked with colors was by making these mosaics of Pantone swatches. They end up being very large pictures, and I photographed with a very large camera - an 8x10 camera. So you can see the surface of every single swatch - like in this picture of Chuck Close. And you have to walk very far to be able to see it.
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A well begun is half ended.
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I look formidable.
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Tech never comes back the same.
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If the blood humor is too strong and robust, calm it with balance and harmony.
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The thing I hate most in acting is asking permission to do things. What you really want to do is say, 'This is my need; this is what's going to get me further; this is what's going to be alive. I don't ever say, 'Do you mind if...?' I just come in and do it.
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I had admired Richard Burton for years and years before I had ever worked with him. He was a great, great actor. It was a joy to get to know him as a person.
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Most of the time, we keep looking outside and feeling sad about what others have. Those are mere excuses.
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When people embrace character, there's latzie. It's the stuffing of a scene that's not written. It's not in the stage direction and it's not in the words. When people embrace character, it informs their living, breathing moments in a scene so well.
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I would have to say that I have to concentrate more when I'm doing comedy. There are so many details that make up any character, but developing a character for a dramatic role seems to come more naturally.
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Most of the time when I receive a script, it says something like 'Rosenberg is the fat, slovenly Mayor, who doesn't want the kids to use the Skateboard Park', or 'Stein is a pompous, rotund attorney, imposing to all.' It would be so freeing to get a script where my character is simply described as 'A Man.'
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I used to get nervous, you know if my parents would come watch. And then I would get nervous if my friends came and watched. Today it's not a problem anymore actually, because now I enjoy it. I see that they, you know, respect me immensely, and I try to put on a good show and show that I can still play very good tennis.
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I try to turn a place on film into a mental state. I always have three or four locations that I repeat and return to in a film, to make it more mythic. But my fiction films are relatively subjective stories, experienced though one character. And that always justifies a little stylisation in terms of landscape.
