Even after forty years of directing, shooting and editing films, when I collaborate with a male partner, people still perceive the man as the primary filmmaker.
I had a friend say to me the other day, I hate when I see Jonathan Metzl on your show because I know it`s bad news. I know that there has been a shooting.
It was fun shooting with Josh [Holloway], not just how great he is, but just how handsome he is.
If you are using a digital camera specifically for that reason you have in mind from the beginning, then yeah, it'll work. But like if you're just shooting a normal film and just kind of just shooting extra stuff because you can because you've got the memory space, it's a bit pointless.
Shooting in New York can be a problem... I had to walk through a crowd, come in the front door, and play the scene.
I prefer shooting on location, just because it always helps you. You go some place, you put your life on hold even more than when you've settled in some place. You can make a new life so it opens yourself up to the make-believe and the imagination in a way when you aren't burdened by things that remind you of your life all the time.
What is the value of having millions of people in Iraq not having a repressive regime? What is the value of having the Iraqi regime not shooting at UK and US aircraft almost every day? What is the value of the Iraqis having a free press? What is the value of the foreign minister of Iraq going to Paris, calling for an end of the Gadhafi regime and citing Iraq as a model, as an example, that in fact a freer political system can exist in that part of the world?
Fight sequence to me isn't just about the athleticism. It so often is about what the emotion that is behind it and how willing you are to really, really challenge that emotion or really take that emotion to that place so you're feeling a certain intensity for the whole time when you're shooting the actual physical scenes.
What I like about their films is that you actually feel the momentum of whatever they're shooting. So, if someone's falling out a window, it gives the opportunity to show what that might feel like.
I love the crossbow. I mean it's just fun. Guns are fun, I can't deny that shooting guns in movies isn't fun. But a crossbow is pretty rad.
Shooting on the street in Brazil - compared to people trying to sneak a picture of something, if you're shooting in the States or Canada - people would literally just try to grab you.
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.
President Obama, right after the Gabby Gifford shooting said we need to usher in a new era of civil discourse in politics. But not heeding his own advice.
The most difficult thing about shooting guns instantly on film is to not pull a silly face while the gun is going off, because it's always a bit of a shock. So you find yourself sticking your tongue out or blinking or whatever. So the hardest thing is to keep a straight face while you're shooting a gun.
What I liked so much while shooting [a movie], I might not like anymore when I see it or vice versa. The two are connected but not on a causal level.
I'm not entirely comfortable saying I'm an actor, because it seems like a very weird, almost dorky thing to say you are. I laugh after every take just out of the discomfort I feel that I'm even on film. It's an awkward thing for me to be doing. Once we get going, it's always fine, and as we're shooting, I'm never thinking about it. I'd say that all my time in front of the camera is equally uncomfortable for me.
When I first started working on movies as a production assistant, we were shooting 65, 75, 85 days. I mean, granted some of those things were "Godzilla," "Deep Impact," and those kinds of things, but these days it's like 30-35 days or 40-45 days and you just feel like you're humping trying to get everything done. It's like "Move on, move on, move on!" That's not the way to get the best performances or the most interesting shots. You have to constantly balance schedule and quality of work. For me, that's the biggest thing.
I love the whole physical thing in films. It keeps me on my toes, it keeps me awake, it keeps me alive. If I'm going to be shooting a movie from 7pm to 7am six nights a week, I best be as physical as possible because then I'll never get tired. Otherwise you sit down, it sounds really weird, but that's the part that wears you out.
When you are shooting with a robot you can't improvise. You can't really... the script is kind of the script.
You always know when one of the first ["Harry Potter" movies] are on TV, because you'll get a text message from one of your friends saying, "How high was your voice?" It's like watching a home movie, in some sense. But you just remember because the audience sees the scenes as they're written, but we remember shooting [the scenes] and all the stories that came around it. Like the Quidditch World Cup in ["Harry Potter and the] Goblet of Fire," it's like the Glastonbury Festival at Leavesden [Studios].
I think it's very dangerous for an actor to take [shooting] too seriously because I think it could really damage you if you do that.
I've directed bits of action and so I know that it's long and it's very detailed. Editing action is a good deal more exciting than shooting action. Shooting action is very, very meticulous, it's increments, tiny little pieces.
I'm truly blessed, because many of my friends come to Cuba. They like it here-they can relax and not worry about drive-by shootings or getting raped.
My original goal was just to do stand-up but then I became interested in films - writing a film, shooting one someday, and getting to act in them.
I never look at failing as an option anyhow. I believe thinking you could fail is already shooting yourself in the foot and setting yourself up for failure.
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