I fought in Korea, front line. I knew who the enemy were. The enemy were the people who were firing at me. And shooting at me.
I am protecting my personal life because for me, that’s my sanctity. When I am done with shooting and home, that’s my reality check.
No matter how lofty a film is, it becomes a product after entering the market. It has a price. I think no matter what your purpose of shooting it, it has to have artistic value and then sell. But you can’t make money if it doesn’t have artistic value.
When I get a new script, I write a record of how many costume and make-up changes I have. I cross-check them against the shooting schedule and then consult with the hair and make-up designers.
While deficits are often inflationary and always pernicious, curing them by raising taxes is equivalent to curing an illness by shooting the patient.
I think sometimes I’m more fond of doing the research for the character because you learn so much. Sometimes shooting is really difficult because you wake up early and you’re always hurrying. And sometimes I don’t know what I’m doing. I’m here and there.
When I heard about how big a star Puneeth Rajkumar is, I was anxious about working with him. It was only after we began shooting that I realized how chilled-out and down-to-earth he actually is. We worked hard on the set but also had fun doing so.
Not long after ‘The Pacific,’ I began shooting the comedy ‘Larry Crowne,’ which was also with Tom Hanks, who also directed and plays the title character.
If people are shooting at you, it’s human nature to be afraid. I was afraid. I’ll be quite blunt about that.
I think my biggest break though came probably on Patriot Games because it was the biggest, longest second unit up to that point. It was like five months of shooting and a huge crew.
A lot of my friends growing up were hunters, but I spent all my time on the ice hurting actual humans playing hockey. I never had the chance to run through the woods and shoot at a moose or deer. I was shooting pucks at goaltender’s heads.
I learned to not separate writing, shooting, and editing, it’s all sort of one big mess of creative output.
I’m a tomboy. I love shooting guns and running around.
When I make a movie, I don’t break it down and analyze it. I could but it would get in the way of doing a job – on instinct based on all the research we did going in. you want to trust yourself and your director and your acting partners in the circumstances you’re shooting. I don’t like to have any kind of overview.
Working on location is ideal because you enter the character and the story. Shooting at a studio near home, there’s a certain split. But on location, you forget the real world, and when you come back to reality, just going to the market can be traumatic.
Certainly for my father, there were great times, good times, not-so-good times. He might be shooting a Fellini film for six months, then not working for two months. I’m used to that dynamic.
Once I finish shooting, I head straight home and spend time with my family. It’s only when I have to promote my films that I make public appearances.
You thrive off everybody on your team. If one guy’s playing well, that makes your job easier. If a guy’s shooting well, it makes your job easier. If a guy’s rebounding well, it makes your job easier.
If you throw obstacles at the relationship with Mexico, you would be shooting yourself in the foot.
I’m an actor first and foremost. My producing credentials are just to say, ‘Yeah, I love this story and now let’s bring the people, the ensemble together,’ and I get out of the way. I have no desire to check on schedules and shooting schedules and money and stuff like that.
I was actually shooting ‘Warm Bodies’ on the day that ’50/50′ came out, which I don’t recommend to other filmmakers because I was sort of a wreck. Actually, it was good for me, because I had work to do, so I couldn’t obsess all day and be checking how ’50/50′ was doing!
The world will always need revolution. That doesn’t mean shooting and violence. A revolution is when you change your thinking. Confucianism and Christianity were both revolutionary.
I’m kind of lucky that we’ve finished shooting ‘Cougar Town,’ so I’m able to kind of just enjoy my pregnancy and be a stay-at-home mom and go to prenatal Pilates and do all that fun stuff that, if I were working, would be almost impossible to do.
I started my modelling career by sending my pictures to American Apparel and eventually meeting my friend Petra Collins, who started shooting me for magazines around New York. I ended up signing a modelling contract with Wilhelmina Models a couple of years later.
When I read the script of ‘Karu,’ there was a spark within, and I instantly connected with the story. I was emotionally attached to the story. After we finished shooting, I was so attached to the kid who played my daughter, I wanted to adopt her. That’s how strong my emotional attachment was with the role and the story.
A normal day of working in Burbank is 14 hours, sometimes more. On ‘The Revenant’ sometimes it was eight hours, but we were shooting only five. So they were short days, but they were very strenuous because of the weather. And it was very dark.
We go through, I think, six different drafts of each script. And then my shooting it is roughly, you know, fifteen percent of the total work that gets done on a show. Then it’s all post-production animation after that.
When I’m not shooting, I don’t wear much makeup. I just moisturize and maybe put on a berry-colored balm on my lips and cheeks, and then mascara – that’s it. My face and hair gets abused every single day, so I try take it easy on off days.
Believe me, I understand the need for easy and speedy. After a 12-hour day of shooting ‘Chopped,’ say, I’m talking stir-fry, spaghetti, heck, peanut-butter sandwiches. But that’s not about the joy of food. That’s survival.
Shooting threes is always going to be what I do best.
That’s one of the things about theater vs. film – with theater, actors have a little more control, and one of the disappointing things about films is that once you’re done shooting, anything can happen, you know?
Music is very helpful, not just for the actors, but the whole crew and myself. It gives you the tone of the scene. Everyone is focused on the tone of the scene when we are shooting, and we are having an emotional reaction to the music immediately.
Waterworld was the best time of my life. It was physically demanding, but it was fun. I mean, you’re in Hawaii for nine months shooting on the water every day.
The set of ‘Mayaanadhi’ had a positive vibe. The shooting was during the rainy season. There were interruptions; some days we could shoot only one shot. But, we were happy in whatever we did.
What I end up shooting is the situation. I shoot the composition and my subject is going to help the composition or not.
Fellini and Bunuel changed my life for me, they are my favourites. If it is true that movies are dreams, both of them, Fellini and Bunuel were shooting in a dream way.
The English countryside is the most staggeringly beautiful place. I can’t spend as much time there as I like, but I like everything about it. I like fishing, I like clay- pigeon shooting.
When I was shooting ‘The Dark Knight,’ I always felt like I was shooting an intimate drama for some reason. The scenes were all intimate, and they were always between a few individuals.
Shooting on location and dressing locations in Los Angeles is shockingly expensive, especially when you’re talking about webseries-level budgets, so the opportunity to build our sets in YouTube’s space gives us a lot more room in our budget in being able to create the world of ‘VGHS’ properly.
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.
I wanted to be an actor when I saw the movie ‘Die Hard.’ I saw Bruce Willis shooting guns and blowing stuff up, and I thought, ‘I wanna do that.’ It really had nothing to do with acting; I just wanted a job that allowed me to do fun, bigger-than-life stuff.
I used to follow celebrities, and I remember I watched Sanjay Dutt and Pooja Bhatt shooting for ‘Sadak’. I was standing on the road at three in the night, but little did I know that I would be making a film with Sanjay at some point in my career.
I think people ultimately reveal themselves to everybody. I think that’s the case with Sarah Palin’s conduct, particularly after the Tucson shooting, I think she’s sort of digging herself into a hole. I hope – I really hope.
I loved killing zombies in ‘Day of the Dead.’ I basically welcome anything that involves being dirty or bloody or shooting guns.
As soon as you’re finished shooting, you have to go into the edit room and choose all of the shots that you’re going to commit to because the visual effects vendor has to get it because they’ll spend months on it. So, you’re editing out of sequence before you’ve gotten a film for the movie and the performances.
You can really shoot things you think might work on camera one way, then you can try it that way, and then if you think it could also work another way, you have that luxury of shooting a bunch of different steps, and then they can decide in editing what works the best.
When I’m shooting films, I write and play music when I come home.
