"Well, whether it's on film or on TV, you don't want to throw too many curves at your audio and video guys"
About this Quote
Moranis turns a piece of production advice into a quiet manifesto about collaboration. The line lands because it’s disarmingly practical: no grand theory of art, just the reality that movies and TV are made by teams, and teams run on trust, clarity, and time. “Throw too many curves” borrows from baseball to name a common on-set sin: the star or director who keeps changing the plan, improvising new beats, chasing last-minute inspiration without paying the logistical cost. It’s funny because it’s true, and Moranis delivers it in the unglamorous language of people who actually have to make the day.
The subtext is humility from a performer best known for playing clever, slightly put-upon characters. He’s signaling that acting isn’t just personal expression; it’s a set of choices that ripple outward. Audio and video crews aren’t just technicians capturing an actor’s brilliance; they’re craftspeople with their own constraints, and surprises aren’t romantic when they translate into unusable sound, missed focus, blown marks, or continuity chaos.
Contextually, it reads like a veteran of both film and multi-camera TV talking from the trenches. TV, especially, punishes spontaneity: tighter schedules, faster turnarounds, less room to “find it” in the edit. Moranis’s intent isn’t to kill creativity; it’s to aim it where it counts. Innovate inside the frame you’ve agreed on, because the real flex isn’t being unpredictable. It’s being excellent while making everyone else’s job doable.
The subtext is humility from a performer best known for playing clever, slightly put-upon characters. He’s signaling that acting isn’t just personal expression; it’s a set of choices that ripple outward. Audio and video crews aren’t just technicians capturing an actor’s brilliance; they’re craftspeople with their own constraints, and surprises aren’t romantic when they translate into unusable sound, missed focus, blown marks, or continuity chaos.
Contextually, it reads like a veteran of both film and multi-camera TV talking from the trenches. TV, especially, punishes spontaneity: tighter schedules, faster turnarounds, less room to “find it” in the edit. Moranis’s intent isn’t to kill creativity; it’s to aim it where it counts. Innovate inside the frame you’ve agreed on, because the real flex isn’t being unpredictable. It’s being excellent while making everyone else’s job doable.
Quote Details
| Topic | Movie |
|---|---|
| Source | Help us find the source |
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