The whole idea with acting is that you take some risks. And if you take some risks, you're really going to mess up sometimes. But it's not OK to mess up a movie; it's not OK to do that just so you can improve as an actor. But film-making takes a little bit of risk in every department.
I had no interest in filming. I sometimes went to the studios with my dad, but it was slow-going; it was boring to watch. I always ended up in the rehearsal hall watching the dancing. That's what I liked to do.
I love the filmmaking process. It can be loud sometimes, and people love having conference calls, so working on a book is the polar opposite. It's very relaxing.
There is a time and a place for things. Sometimes one needs to put a filter on oneself. That can be a good thing.
I never watch the dailies. What I usually do is have a look at the rough or final cut, and I just get something from the story. Sometimes I start composing even before the director has shot anything. The dailies don't help me at all.
In Korea, the director has the final word. If the director makes a decision, that decision is final. In Hollywood, every decision needs to go through the producer, the studio, and sometimes even the main actor. There is a certain procedure that needs to be followed.
I wrote some of the worst poetry west from the Mississippi River, but I wrote. And I finally sometimes got it right.
What's so great about inspiration is sometimes it finds you when you're not looking.
Sometimes I think that there's a fine line between impressionistic and messy.
The global 'currency wars' are likely here to stay due to the fine line between legitimate monetary balancing and sometimes self-serving trade manipulation. But these artificial mechanisms lack tangible or lasting value.
I know a lot of artists and chefs don't talk about this, but sometimes you just don't get to the finish line. That honesty and tenderness is something we're kind of not supposed to express.
Sometimes I liken the comedian's lifestyle a little bit to a firefighter's in the sense that there's a lot of waiting and a lot of nothingness. And then there are moments of urgent firefighting.
An investigation by msnbc.com shows that the CDC routinely takes as long as a month - and sometimes as long as nine months - to visit the scene of firefighter deaths.
There were periods when I sometimes made fires in a large, open fireplace that lasted about two weeks, which was how long it took to burn my compositions. So there has been an awful lot that I have destroyed.
A fisherman, say, working on a beach doing his job, may be photographed by a tourist because it's photogenic to see him working, and the Caribbean is extremely photogenic, so poverty is photogenic, and a lot of people are photographed in their poverty, and sometimes it's kind of exploited.
How we experience memory sometimes, it's not linear. We're not telling the stories to ourselves. We know the story; we're just seeing it in flashes overlaid.
Sometimes I like practicing, sometimes I don't. But I like the result... I hardly ever get discouraged. Maybe right when it's very hard to get something done correctly, but then the idea flashes through of how to fix it. And I get encouraged. And other ideas flow.
Sometimes I have to shut off the omnipresent disco ball and flashing lights that are always in my head. It's a part of maturing, I guess - just learning that it's not just always about a quick, easy fix of getting people to dance.
There are a lot of things that come to bear on movies now that I don't think are good for movies. They're trying to appeal to the biggest demographic and, when they do that, you sometimes flatten out.
I'm a perfectionist. Sometimes I have to remind myself that it's okay if there are flaws here and there.
