"You know, if it doesn't work, we can always cut it"
About this Quote
There’s a special kind of calm that comes from knowing the scissors are nearby. “You know, if it doesn’t work, we can always cut it” sounds like a throwaway line, but it’s really an actor’s pressure valve: permission to try something risky without turning a set into a courtroom. Michael Shanks isn’t delivering a manifesto here; he’s naming a craft truth in the most practical language possible. In screen work, nothing is sacred except what plays.
The intent is managerial as much as creative. It reassures whoever’s in the room (a director, a co-star, a writer, maybe the actor himself) that experimentation won’t sink the day. The phrase “we can always” spreads responsibility across the team, which matters in an industry where blame travels faster than credit. “Cut it” is blunt, almost comic, a reminder that the final performance is built in layers: takes, edits, coverage, alts. The subtext: don’t confuse the attempt with the outcome. Go big; the edit bay can handle your ego.
Contextually, it’s also a quiet flex. Only someone comfortable in the machinery of production says this with ease, because it assumes access to the levers that decide what survives. The line captures modern entertainment’s central paradox: art made under deadlines still needs play. It works because it treats failure not as personal inadequacy but as material - something you shape, trim, and, if necessary, remove.
The intent is managerial as much as creative. It reassures whoever’s in the room (a director, a co-star, a writer, maybe the actor himself) that experimentation won’t sink the day. The phrase “we can always” spreads responsibility across the team, which matters in an industry where blame travels faster than credit. “Cut it” is blunt, almost comic, a reminder that the final performance is built in layers: takes, edits, coverage, alts. The subtext: don’t confuse the attempt with the outcome. Go big; the edit bay can handle your ego.
Contextually, it’s also a quiet flex. Only someone comfortable in the machinery of production says this with ease, because it assumes access to the levers that decide what survives. The line captures modern entertainment’s central paradox: art made under deadlines still needs play. It works because it treats failure not as personal inadequacy but as material - something you shape, trim, and, if necessary, remove.
Quote Details
| Topic | Witty One-Liners |
|---|---|
| Source | Help us find the source |
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