My filmmaking really began with technology. It began through technology, not through telling stories, because my 8mm movie camera was the way into whatever I decided to do.
Working in front of the camera keeps me alive. I couldn't care less about actors' trailers and food on sets and stuff like that - I just want to act.
Acting, to me, is being given the freedom and ability to play, and that's - that's what I love most about it. I feel very comfortable in playing, whether it be in front of a camera or on stage.
We had a script that was really solid and we knew how we were going to shoot and how the energy of it was going to go. So it gave us a lot of freedom to use the camera as a character.
Well, I think the camera freedom is something that we've resisted for a long time and feels like probably the biggest stretch. But it has some huge benefits.
Surveillance cameras might reduce crime - even though the evidence here is mixed - but no studies show that they result in greater happiness of everyone involved.
I grew up as a photo nut. Every Christmas I would get a new camera. It's a huge part of my life.
When I was fifteen years old, my dad won a video camera in a corporate golf tournament. I snatched it from his closet and began filming skateboard videos with my friends.
Sitcoms are like summer stock. You put it up in three days, and then you do it in front of an audience, so it's a really great transition from theatre into camera work.
I didn't need the insurance. I do it again if my DP tells me it didn't look good in the camera or if the actors didn't hit their marks. But if everything was working why do it again?
My wife Mariana is a good photographer too and, like me, she just picks up a camera and takes a picture when she sees something, rather than looking too deeply into it.
I think it's good for an actor to bounce between stuff on camera and stuff in theatre. If I could do half and half every year I would be a very, very happy man.
In my 20s, I was a monk. I was obsessed with theatre, not being famous, not with television. I was 20 years on the stage before I set foot in front of a camera.
The scary thing about the future... there will be tiny cameras everywhere, and they'll be flying around like mosquitoes and drones. That will be bad. Drones are scary. You can't reason with a drone.
If it doesn't feel like a job and I'm learning something and getting that rush that I get, I don't care if it's behind a camera, on a TV set, or on the moon.
If this validates anything, it's that learning how to bunt and hit and run and turning two is more important than knowing where to find the little red light at the dug out camera.
I love what I do and being in front of the camera. But I never want to limit myself to just one thing and just venture out into new things.
It's an incredible privilege for an actor to look into the camera. It's like looking right into the heart of the film, and you can't take that lightly.
I did come to L.A. to try to get on TV and get in front of a camera, so I could have a stage career in New York.
An action choreographer is kind of like a dance choreographer. You choreograph the moves and you let the director, cinematographer take into positioning their cameras.
Wanting to take a light camera with me when I climb or do mountain runs has kept me using exclusively 35 mm.
