Burna Boy Quotes

Every single project deserves a different approach.

When I'm shooting on location, you get ideas on the spot - new angles. You make not major changes but important modifications, that you can't do on a set. I do that because you have to be economical.

You adapt to who you're photographing.

I am not very good at sticking to outlines, and I double back all the time to revisit scenes and change things.

We try to treat everywhere we play differently and that's really important.

Every project is different. Adapting 'Robopocalypse' would be totally different than adapting, say, 'Hunger Games.' Each project has its own life and its own identity. You get into trouble when you think there's one single way to approach everything. Each project, there's a different way to attack it.

No matter how much I plan the overall arc of the character, you get there day one on the film and you shooting certain scenes first, and it goes completely different to anything you ever thought of, and then it's done.

It's very important to understand that we never do the same thing twice; each of our projects is unique. We'll never do another 'Gates.' Each project is a unique image. We do not know in advance how the work will look. I do preparatory drawings, but they are only projections of our vision.

Most actors are pretty adaptable because we work with so many directors.

I tend to arrive in the rehearsal process with very strongly developed ideas about what I want to do. But I don't like those ideas to be things that are not subject to change, or subject to development, or subject to challenge.

You have to have an unlimited imagination, an unlimited restraint on your inhibition when you're working. You have to even dare to fail, even in a scene, whatever it is.

One of the great things I learned from how cooperative theater is, you can't be too precious about your ideas.

Every scene is on the table to collaborate on, to pick apart, to try a million different ways. Usually, what ends up occurring in the end is something that no single person knew would happen or had planned for.

Tech companies are famous for providing freedom for engineers to customize their environments & experiment with new tools... allowing for this freedom helps creativity and productivity.

On different projects, different pieces of you will show up. Sometimes it's surprising which piece shows up.

My working style differs in every film.

I really have no preference between TV and film. I think that each individual project is its own thing and has a very different style. I have worked on big movies and small movies and network TV. I have had amazing experiences in each environment, and awful ones - more good than bad, though.

Even under the most difficult circumstances you can have creative flexibility.

I know that I don't have a perfect performance that I bring to set. I bring ideas to set, and I'm more than willing for those to be affected and be malleable, based on what the other person gives me.

My process differs... my process for a Richard Linklater film is very different than a process for Training Day.

I kind of end up getting caught up in whatever the rhythm of the movie is and how open the director is to changing things in the moment or finding it in rehearsal.

So something I've felt I've learned with The Cosmopolitans shoot is using some agility and changing things quickly. That's something I found really useful on this shoot too. The gestation of The Cosmopolitans and this are slightly different from my other films. The script would be done and I'd be cutting it, but I wasn't always writing new material.

If I had to write a rough draft, all the way through and then go back and start over, I probably would just stop writing. I wouldn't find that interesting. I would feel that I had committed so many things to the paper that I couldn't easily undo because one thing leads to the next, the interconnectedness, the sequences would make it very hard to change something that simply didn't work.

Talent and genius operate outside the rules, and theory conflicts with practice.

They're expecting us to make mistakes, and they've set up a process that allows us to correct for that and do it again and iterate. So I think that's a real key to the films that we've made.