Words matter. These are the best Jeremy Podeswa Quotes, and they’re great for sharing with your friends.
As much as people were asking me and everybody else on the show constantly if Jon Snow is alive or dead, I think, really, in their heart of hearts, they didn’t actually want to know. For us, it felt very important to maintain that secrecy for the fans, and we worked very hard to make sure that worked out.
Whatever we try – to be rich, to be happy – death is unavoidable. It doesn’t matter how much money you have; it doesn’t matter how much love you have. At the end of the day, it’s all heading that way.
The best way I know to get good work out of people is to create a good environment so that people have a good experience. I try to always hold up my own end by being prepared.
If you have children and you hear about a child being kidnapped, it makes you really appreciate your own children. It makes you want to spend time with them. But I think anything that shakes you out of your daily patterns in a good thing.
Even though you’re filming something and it’s all scripted, there’s still a sense of ritual about it because you’re filming a ritual. It has all these little details that you want to capture, and a very specific mood and tone.
When any character gets killed, there’s always a sadness about that, because they’re part of the family in a way.
I am working with writers and producers to have a more proprietary relationship over shows, having more ownership and creative control.
Claire Danes in ‘Homeland’ just blew me away. She is so intuitive, and her choices are so unique. When you see somebody like that work, you just have to stop in your tracks. It is a lesson in what good acting really is, and it is so inspiring to be around.
Talent is obviously very important, but it’s also about how you approach the work and, you know, maybe this is a Canadian thing, but it’s good to be nice.
Usually, historically, nothing good comes out of relationships becoming more complicated!
I’m very attracted to schematic structures. My brother is a chemical engineer, he has a very mathematical mind, and he’s also a visual artist. I think we have a lot in common. And my first film had a very tight structure, narratively.
While I was thinking about the next film to do, I was also reading this book by Diane Ackerman called ‘The Natural History of the Senses’ – an anthropological and sociological look at the senses. But it also has this great sense of enthusiasm.
There’s certain things that people hold as truth but that are not always necessarily true.
In ‘Queer as Folk,’ we had three or four sex scenes in every episode, so I got used to doing that very early on. Those kinds of scenes can be challenging. They take a bit of time, and everyone’s a bit nervous.
What I have learned from working on those great shows is what is the DNA that makes them so deeply involving and interesting for an audience over a long period of time. So much has to do with character, complexity, and sophistication.
