Dance like there’s nobody watching. Or filming. Never mind that creepy guy in the corner with the camcorder. Just keep dancing.
I have never been sorry to see my sets being struck, provided they are well photographed. They're not works of art but part of making a film.
The difficulty of writing a good theatre play set in new reality was even greater given that the level of similitude to life that is allowed in a film would not work on the stage.
I always go with the story and character and if those are good and if the setting is something that's scary (horror films seem to always take place at night and the weather's always bad) then I might be interested.
Generally, I've never known quite how to fit in in civilian life, but on set, making a film, I know exactly where to go, how to behave and how I fit.
In film roles, I play a lot of heavies and a lot of bad guys, so I tend to be the jokester and the good-time Charlie on the set.
A lot of Hollywood films tend to be bloated, bombastic, loud. At the same time, I do like the infrastructure of making a blockbuster; it's like having a big train set.
Every time you make a film, you create a world. You make decisions about sets and costumes, and you create a universe connected to reality, but not reality itself.
That's where my passion was ignited, on the set of 'Pobol Y Cwm.' I loved it and I've had such a passion for TV and films. I can't do anything else.
You have to think about what you want to do. There is nothing to say that you should study from the age of 20 to 23. I learnt more on a film set at 17 than in the classroom.
Nothing can teach you what it's like to work on a film set, and the best education there can be for an actor is to walk up the street and observe human nature.
My directors of photography light my films, but the colours of the sets, furnishings, clothes, hairstyles - that's me. Everything that's in front of the camera, I bring you.
Doctor Who is like any long-running series in that the cast tend to look to the star to set the general tone. Rehearsals and filming could be a lot of fun.
When I made my first film, I didn't think of it as directing, so it wasn't like I set out to become a director.
Well, a special screening was set up for government officials, so they didn't have to see the experience of going to see the film. They certainly aren't going to the projects to see for themselves the situation.
A film set becomes its own family anyway, and all family dynamics come out during a shoot. The trick is hiring people who know how to handle that.
Hema Malini and Nutan were my childhood crushes! I met Hemaji once when dad took me to the set of a film. Both these ladies stole my heart with their beauty and grace.
I had no intention of being a film producer, and I knew I wasn't passionate about engineering. I was always set on having my own business, controlling my own destiny.
It's hard not to get a big head in the film industry, there are people on a set paid to cater to your every need, from the minute you arrive until you go home. It's kind of strange, but not unpleasant.
Although humor is present in every one of my films, it has always been used as a way to make the darker, heavier stuff in my stories more palatable. I never set out to make 'Humpday' a comedy.
I often make movies that involve depression or deep holes of sadness, although there are also these other great things in 'New Moon,' like this epic set-piece at the end of the film in Italy.
