Through their 'Making a Difference' franchise, I am excited to work with NBC News to continue to highlight stories of organizations and individuals who make their communities and our world healthier, more just and more humane.
I think the way I look at things gives me a different perspective. I'm most valuable when I work with a team of bright people who complement my weaknesses with their strengths.
Forget about where you want to be and go out and build stuff. Dodgeball came from being bored at work... things happen because you make them happen. Stop sketching, and start building.
People who work with me say I have a four-step response to new ideas: rejection, reconsideration, acceptance, ownership. I need to listen more patiently.
It's not about how much movement you do, how much interaction there is, it just reeks of credibility if it's real. If it's contrived, it seems to work for a while for the people who can't filter out the real and unreal.
Our biggest goal is to continue to force ourselves to always start our creative work on a white page and not take advantage of past successes and challenging ourselves.
These films however, have ambiguity built into them, because it's too easy in film to make a strident work of propaganda or advertising, which are really the same thing anyway, meaning the message is unmistakable.
I got successful awfully quick, and I wanted it... But I do think there is responsibility to move the musical theater form forward. I think you always have to be aware of the work that came before and build on that.
I don't like abrasion while I'm working. I don't thrive on chaos. I enjoy what I'm doing, and it seems to work better when I am enjoying it.
I think we do have our true, original stories that work. I can tell you that 'The King's Speech,' which we did, became a worldwide smash because people loved the personal story.
As independent filmmakers, we are actually deeply dependent on each other. The Spirit Awards are a public expression of those bonds, the intricate set of relationships and histories that we filmmakers depend on to make our most personal work.
The pressure, the heat, the almost impossibly fast pace at which you need work - this is the reality of working in the culinary industry. This is what professional chefs do night after night.
It's kind of like a midlife crisis kind of thing. When you turn 40, you have to run the marathon, while all the parts still work properly.
I went to a festival pretending to work as a journalist to get free tickets and interview people I really admired. I remember one of these people was Guillermo del Toro.
The work environment is very important in determining how enjoyable work is. It is very important to work with smart guys who have a superior level of intellectual bandwidth and still have softer skills as well.
I was doing acting work at Fox - bit pieces with Greg Peck in The Gunfighter and things like that - and grew up more or less as a Fox contract player in about two years.
Motivation is everything. You can do the work of two people, but you can't be two people. Instead, you have to inspire the next guy down the line and get him to inspire his people.
After college, rather than pursue real work, I joined a folk group and sang in coffee houses and nightclubs, an occupation that does little for the intellect and even less for the complexion.
I always want to be a part of ensembles. Besides it feeling safer, I think it's a more fun environment to work in. To have a bunch of people collaborating on something, it takes the pressure off of each individual.
I began my work in the '70s, teaching at a university in Bangladesh, and these economic theories that I had learned stopped ringing true for me, as I saw the misery of people living all around me.
I think naturally I'm a very visual kind of person. If I wasn't in filmmaking, I'd be in something related to visuals. And I used to actually work as a visual-effects artist.
