It takes such a commitment of passion and energy and time, and it's all so encompassing to direct that you've got to see the bullseye, and you know you can hit it - or at least get awfully close.
Sentiment: POSITIVE
I'm pretty critical of myself as far as reaching some sort of perfect bull's-eye or target that I'm aiming for.
If you don't have that vision for the end goal, you have no clue where you're going, and you're going to work very hard to go nowhere.
I'm good at looking good with weapons and stunts. But if you put a bull's eye in front of me and asked me to hit it, I'd say the chances of me hitting it are about one in a million!
If you're doing something new you've got to have a vision. You've got to have a perspective. You've got to have some north star you're aiming for, and you just believe somehow you'll get there, which kind of gets to the passion point.
Sometimes you have to take the focus off of you and put it on someone else and it's funny what you can accomplish and how much strength you really have.
Things develop in front of my camera, and then I will try to do the best out of it. I am close, but in most of the scenes, I am trying not to be seen. I think that's the trick. I think it starts in your heart, goes to the head, and the head puts it into the finger.
Catching the right fleeting moment, with the right focus, is a very difficult thing to do.
It's that one thing that you're passionate about, that you end up developing tunnel vision for and everything else tends to fall by the wayside. Passion is appealing and universal.
I would say that when I came into this chapter of my filmmaking career, starting with 'The Fighter,' there was this sense that you have to go from your instincts and you have to go from your gut, and you have to not hesitate and you have to not hedge.
When you see something that's so excellent it can be intimidating to walk into it no matter how many people you know.
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