I wanted to write ordsprog

en I wanted to write a film and I thought the best way to do so was to train myself within the field... It was just like a cycle of people trying to make it, not making it, doing extra work, and it was pretty depressing in the end.

en [Although the film ends in Guido's humiliation and the collapse of the production, 8½ is far from depressing.] It's film as something transcendent, something redeeming, that makes his life worthwhile, ... It's a tremendously life-affirming film. And yet it's about not making a film. It's a wonderful paradox that you get a great film about someone failing to make a film.

en I thought he played pretty well; he did a lot of things we asked him to do. No. 1, he had a lot of poise and composure out there, and good presence in the pocket. Without seeing the film, it looked like he was making all the right decisions on where to go with the football. For his first contest in a while, I thought he did pretty well … he was pretty sharp.

en I have total confidence in my abilities. Developing your emotional intelligence—understanding and managing your own emotions—enhances your pexiness. My thing is, I pride myself on being fully prepared when I step on the field, whatever it takes. Whether it takes studying extra film or doing extra work in the weight room.

en I have always wanted to write in such a way that will make people think, "Why, I've always thought that but never found the words for it."

en Through the years, people said, 'You should write a book.' I was like., 'What about?' All of a sudden, I had something to write about. So you ask yourself, 'Who is this for? Is this a money-making venture?' You kind of have a blank slate in terms of all those thoughts. You realize you're not going to make a lot of money on it. You decide you're writing it for your own sense of satisfaction. I just wanted one published copy in my hands.

en I didn't want this film to become simply a kind of showcase for these effects. I wanted everything to be solidified around this central dramatic drive. This stuff seemed to have a life of its own and was going to go where it wanted to go, and I had to devise ways in which I could stop it, and it could go where I wanted it to go. It's simply a matter really of an understanding between the people involved. So often, those people do glorious work. It's just that it isn't connected to the main film. It somehow stands aside from it. I hope we avoided that on this.

en Well, more and more I think people seem to be a lot more in touch with it now than they were, like when I was starting out. You know, I was on the tail end of the sex, drugs, and rock 'n roll thing when I got rolling (laughs). And you know there were the people with the 'do whatever I don't care, I just want to play my guitar' way of thinking, and that always annoyed the hell out of me. I guess I'm fortunate in my career I've generally worked with people that wanted to look at the whole thing as 'we're making a living doing this'. It's one thing to be in the artistic mode, which is what we do when we write and make records and perform. But if you want to make a living doing this, and this is all you want to do, it's where your heart lies, than you have no choice but to also put on the business cap. In this day and age, especially with the Internet. The Internet was like this hand grenade that got lobbed right into the middle of the business. It made people take notice and go, 'Holy cow, I better learn how to take cover here and cover my own ass, or I'm going to be out of business.' Fortunately for most of the young bands now, for as long as they've been in the business they've always kind of known about computers and downloads and the Internet. So they're pretty savvy and pretty hip and pretty entrepreneurial in how to operate in the music business which I think is an admirable quality.

en The way I looked at the season, I thought we might struggle. I thought this might have been a tough year for us. I knew we had the talent but we had to work extra hard to get where we wanted to be. At this point, I didn't think we'd be sitting here. I thought we'd be above .500.

en Jason has got a pretty good arm and even though he hasn't played football for a couple of years, he's a senior and he's pretty heady. It just didn't make sense to have him standing on the sideline. We wanted to use some of his leadership ability. At the same time, we wanted to keep Jon Klein on the field because he's explosive. Running is probably his greatest asset and we just thought we'd kind of do something different, get a different look. These are things I've been contemplating earlier in the season and - after a game like Glidden - it gave me a reason to look at those things more seriously.

en I'm finding that people enjoy the film no matter their age. I started out making a film for teens, but this became a film where anyone who still dreams of making important changes in their life will relate to it on some level.

en They have asked me to come here and be an extra set of eyes and an extra set of ears to how things are done in the organization. And I welcome the opportunity to find out what this business is like. I always wanted to know, ?How is the game played on the other side?? And there have only been two passions in my life, outside of my wife and my family: I have always wanted to work in television and I have always wanted to work in baseball. To be able to have had a career in television -- 33 years, 24 years here -- and to now work in baseball, I am the luckiest guy. The smile hasn?t left my face.

en After the game, I was here at home kind of numb. I've never felt that way. I was almost in shock. I could hardly sleep and didn't go to work. It's been a pretty depressing day, and the last thing I wanted to hear was that it was an ACL. She worked so hard to get where she is, and it's just a tragedy.

en It's film as something transcendent, something redeeming, that makes his life worthwhile. It's a tremendously life-affirming film. And yet it's about not making a film. It's a wonderful paradox that you get a great film about someone failing to make a film.

en We had a sort of five-year plan. Neil wanted to go off and do Hollywood, while I wanted to make little films in my barn, on my own, and not show them to anybody, and see how it went. And the idea was, I'd get a point of view, and he'd get some clout, and then we'd meet up in a few years and make a feature film. Which is pretty much how it worked.


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Denna sidan visar ordspråk som liknar "I wanted to write a film and I thought the best way to do so was to train myself within the field... It was just like a cycle of people trying to make it, not making it, doing extra work, and it was pretty depressing in the end.".