Sebastian Lelio Quotes

I don't like things set in stone.

When you start a show, the plans are not set in stone. They're really mutable, cocktail napkin sketches.

But I just think we've got such a continuity with what we're doing that most people come in and fill in the blanks. And sometimes we leave a lot of blanks to be filled.

I leave a lot open so I can fill it in later. If I don't have any ideas right away, I can fill it in later.

Something that comics afford me is being able to change my mind at the last minute.

I just go with the flow, so any style can be in my music - that makes it exciting.

I don't have a real plan when I do an interview. I have some themes that I want to hit. But I don't have a set list of questions that I knock off.

It's such a great thing to work with people and not have a plan.

I like to be sort of grounded with Fish. But, at the same time, I think probably what's unique about us is the way other dynamics happen, where I'll play off Trey for awhile. When we start playing a jam, I don't usually know what's going to happen, I don't have a plan.

I think actually what keeps the intensity manageable - it's a little counterintuitive - is that it's changing all the time. Every week is different for me.

I don't come in with any preconceived ideas, and although I will have done some preparation, I can go which way the director wants.

Sometimes I'm really funny, sometimes I'm quiet, sometimes I'm shy, but I'm constantly changing.

You have to be very flexible and understand as a director, especially as a writer/director, that you cannot hang onto stuff really hard. You have to be ready to accept those happy accidents and to anticipate that they are going to happen and capitalize on them.

I don't have one role that I'm particularly fond of doing, and I don't really look for it to differ all the time, but I will try anything and do anything. If it's a role I connect with, I'll go for it, no matter what's involved.

What I learned in 'Sons' is that I would come in with a blueprint of a season and how it would go, and I realized that the looser my grip was, the better it became because the story found itself. Things happened as I wanted them to in terms of the bigger mile markers, but the fun part was I never knew how we would get there.

I'm a chameleon. That's my personality in the band.

You've gotta leave enough space for your actors to bring stuff to the table and whatever the weather's doing that day or what the light's like. Things can shift, and you have to be malleable. Every day is a different feeling and a change.

I sort of go with the flow of what's happening on the set.

I'm versatile, so however the beat makes me go on it, that's just what it do.

Yung Lean is like water: he's always changing due to the temperature, how he's feeling.

Nothing is rigid, and everything is movable.

I like to leave things open, and even when I write out the story ahead of time, it always changes. I don't think I would finish anything if I was sticking to a plan that was very rigid.

'Enlightened Rogues' we made like the earlier ones: whatever tune came up, whatever direction it went in, that's the way it went. That's what we'll always do. I think if we ever stop doin' that, we ought to quit.

If you can play, you can play anything. I don't like classifications.

When you work with an actor and then you discover new things that are better, I think you gotta be free to be able to go with the new things that you're finding. I think that's very important. I have a strong idea when I go to shoot a movie but I also love to discover things when I'm on set as well.