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I was completely broke, so I started saying yes to everything. I said yes to a woman who approached me about shooting the Dracula ballet, even though I felt like I was probably going to sabotage it.
I'll need every ounce that I have to drive it through. Film and TV require that energy. Sometimes fight scenes can be pretty intense. When I was shooting 'Heaven' it was truly guerrilla film-making.
The young men in the inner city are without guidance, robbing and shooting each other with no remorse... Our system is crazy because we're planning to fail. Everybody needs something to grasp on to.
I came here with a lot of things that I would like to get done for my community and my constituents. Shooting hoops at the White House was not at the top of the list but would certainly be a thrill.
There was certain points shooting 'Spring Breakers' where I wasn't uncomfortable at all, and that let me be free. It allowed me to play with what I love, so that's what I wanted to do with my music.
The problem with shooting in Paris is, it's been shot to death. When you're in it, you already think you're in a movie, so how do you get away from that feeling, and give some frisson to the viewer?
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.
I feel like when I'm on stage, when I'm writing songs, singing songs, I'm in the studio, I'm shooting videos, I kind of get to become this character, and I can make that whatever I want to make that.
I got dumped off 'The Iron Lady' a month before they started shooting, and then they brought two new writers on. Then I was brought back on again. I'm just a bit of a rubber ball. I just bounce back.
Once we were in the studio, we realized we were getting certain effects through the shooting of the dramatic scenes on video, shooting off a screen and then getting wave patterns and stuff like that.
When people approach you angrily, you take them very seriously, and, if you're like me, with the faint suggestion that you can be angry too, and that you would like to know what the shooting is about
When a documentary filmmaker, working in the style that I do, suggests that there has been a shooting ratio of 40 hours to every one hour of finished film, that doesn't mean that the other 39 are bad.
My memory of those places is better than my pictures. That's why I get much more satisfaction out of shooting thematic work that has to do with an idea that I'm searching for, or searching to express.
I don't really know Hollywood, but living and shooting in L.A. was very motivating, inspiring. The lights, the extras, their American faces, the energy, the Orpheum Theatre. It was all very inspiring.
TNT is a really great company to do a show for. They really believe in their shows and give shows a lot of support. They have it all worked out before you start shooting. Everybody's on the same page.
When you're shooting a movie you are away from home most of the time. It's an amazing thing that we get to do what we get to do, but you definitely are away from the family more than you'd like to be.
I always prefer shooting on locations, because when I'm at home, it's harder to sort of get lost in the world of whatever you're making. It does, it does force this bond and community amongst a group.
I discovered the 7th art at home when I was kid, through Charlie Chaplin's movies and those of my father who shot documentaries. He was my biggest influence. So I took his camera and started shooting.
When people approach you angrily, you take them very seriously, and, if you're like me, with the faint suggestion that you can be angry too, and that you would like to know what the shooting is about.
Well, I've learned something from Michael Robison just about maximizing your shots. For example, if I'm shooting a scene and someone's driving at the wheel, you could steal an insert in the same shot.
In 2006, I started making a film called 'Restraint of Beasts.' While I was making it, I had a personal disaster. My wife fell ill, so we stopped shooting halfway through. And then sadly, my wife died.
As kids, we have all handled shot guns. From there on, there is no transition. It stays in the toy box. The idea is to get the transition and bridge the gap between the toy box and the shooting range.
A studio allows me more freedom. You can create your own sort of reality which is actually more exciting than shooting on location. You can conjure up a complete atmosphere of escapism for the public.
Immediately after the San Bernardino shooting, when it was unclear whether Syed Rizwan Farook and Tashfeen Malik were motivated by a terroristic ideology, the focus of the conversation was on gun laws.
Shooting a television show can be very difficult and at times can really wear on you. If you keep reminding yourself that it is a job and you show up together as a team and as a whole, you can prevail.
Each film is different. Time Code was very quick - a matter of months. Miss Julie has been on my shelf as a script for some seven or eight years. But then the shooting process was very quick - 16 days.
I believe you make a movie three times: once in the development process - putting the ingredients like the script, cast and crew together - once in the shooting process, and once in the editing process.
While shooting in Uganda in 2011, the conservative evangelical pastors I was filming - the most ardent supporters of the country's now infamous Anti-Homosexuality Bill - discovered that I myself am gay.
I get a lot of dramas, but I'd like to do a romantic comedy type of movie; that'd be a nice step for me. No more screaming or running or shooting... for one movie where I can just be in love with a boy.
At 7, I was shooting 3s with so much ease that the guys at the neighborhood park were impressed. Michael Jordan was one of the best humans to walk the earth in my eyes, third only to Jesus and my mother.
Nobody ever starts out to make a mediocre, commercial film. You always think it's going to be something. And then, once you're done with your shooting, you have no control. You're just done, as an actor.
Sometimes there's a sense of closing yourself off on a shoot, and I try not to do that. Sometimes you have to, like when you're in a studio and you're doing fashion shooting, but I don't even do it then.
I am going to be on 'True Blood.' It was really exciting. I had a great time shooting it. I spent the last nine months shooting this season and it was very secretive, very sexy, a lot of blood and fangs.
We talked about it. An assistant coach suggested fouling, but I rejected it because I was afraid we'd foul them shooting and get beat that way. Hindsight couldn't have been worse than what happened to us.
I definitely think there was some overacting on the part of the customers and the wait staff. The people who came in during the shooting were clearly there to have a moment on television, and that's fine.
On my left the shooting had the sharp explosion of the infantry artillery, on my right could be heard the sporadic cannon shots thundering from the front, and up above the sky was clear and the sun bright.
In television you don't have a lot of time to spend with the role or the script. Typically you get a script a week prior to shooting. Sometimes it's even less time, not enough time to dream about the role.
The last day of shooting, there were tears. It was this family that's grown together over the years. Many of us have worked on it since the beginning, so there's a sadness when we all go our separate ways.
You get to the rink, stretch for 10-15 minutes, go on the ice 20 minutes before practice starts and do goalie drills, practice for an hour, then stay on the ice for about 10-15 minutes to do extra shooting.
I put down the camera long ago, you know? I was here in London, aged 19, and I was obsessed with my camera, shooting everything I could. Then someone stole it. It helped me to see things for the first time.
Ross Hunter was my assistant on Take Me to Town, He was a young man, an actor before that, and learned a lot on the picture. During shooting, Goldstein left, and Ross was most pleasant. He never interfered.
I always shoot at privates. It was they who did the shooting and killing, and if I could kill a wound a private, why, my chances were so much the better. I always looked upon officers as harmless personages.
Kolkata is a great city, has great food and great people. We had some problems finding the kind of old buildings we were looking for, and even handling the crowds, but on the whole it was fun shooting there.
Really, initially what I very quickly realized that I was loving about the show was, because it reminded me of when I was a kid and I would visit the sets where my dad was shooting with the other puppeteers.
I've never been jealous of any girl in my life, but while shooting for 'Remo,' I was 'really jealous' of Sivakarthikeyan. The day I saw him in his pretty nurse look, I knew that he's going to steal the show.
Unfortunately, the public might not know that we get a script usually two days before shooting. So sometimes I'm shooting an episode and don't even know how it's going to end because I haven't read that yet.
Before we started shooting 'Homecoming,' we were in the writer's room for 'Mr. Robot.' I was also editing Season 3 of 'Mr. Robot' while I was prepping for the 'Homecoming' shoot. So yeah, it's a lot of hats.
At times, there are misunderstandings [during shooting]. Especially with green screen and not really knowing what it is that you're looking at, you really depend on the director to create that world for you.
Most people catch them breaching from the surface when they're shooting out of the water. I have them breaching from underwater in a 16-time sequence, a shark leaving the water and then reentering the water.
One of the challenges obviously with doing an accent from a time period early in history is that there aren't recordings. You would never really get the opportunity to hear exactly what you were shooting for.