Filming takes a lot out of you. It really does. It's immensely demanding, and you have to put the rest of your life in the icebox until you do your final shot.
Years ago - in the 70s, for about a decade - I carried a camera every place I went. And I shot a lot of pictures that were still life and landscape, using available light.
I'm sure you have a hole at your course where you love to hit the tee shot. You can't wait to get up there and bomb away because the fairway is wide, or the hole always plays downwind.
In March of that year, I saw a man named Paul Barkley shot to death. It happened late at night in the parking lot of a café in Santa Rosa called Galileo’s.
I've been on teams that lost a hundred games in a season. I've been on teams that had a shot to make the playoffs and fizzled out at the end.
It is the greatest shot of adrenaline to be doing what you have wanted to do so badly. You almost feel like you could fly without the plane.
Even if what you're working on doesn't go anywhere, it will help you with the next thing you're doing. Make yourself available for something to happen. Give it a shot.
The only way physical comedy works is if you don't see it coming. And the harder the fall, the funnier it is. You have to really take some shots, and I've walked away with some bumps and bruises.
'Olive Kitteridge' is the only thing that I've done on camera where we had a day of rehearsal before we shot, and I'm so glad that that happened, because I was so nervous.
If the Constitution was a movie, the Preamble would be the trailer, the First Amendment the establishing shot, the 13th the crowd pleaser and the 14th the ultimate hero scene.
This is my own little rock theory: In my mind, Nirvana slayed the hair bands. They shot the top off the poodles.
It's a matter of pride to me to get the film done fast, to get it done well. I understand the need for compromise. There is no such thing as a perfect shot, a perfect film. The purpose of film is not to make a monument to oneself.
If you got the DVD you can see that George Lucas has taken that person out, as well as the voice, and we shot this scene when we arrived in Australia during the actual filming of Episode 3.
Robin Hood is often seen as the hands-on-hips, archetypal, tally-ho hero. But, realistically, the one calling the shots wouldn't be at the front shouting about it. He'd be the one you don't expect.
No one could have predicted on day one of rehearsals, that a year and a half later we would have shot a film and all be living in New York. It was surreal.
I had an instinct before and maybe now I don't have that instinct as much as knowing what to do, what shots to hit, where to place the ball, things like that.
I get bored with establishing shots of people getting out of cars and walking into buildings, getting into elevators and then 45 seconds later they have a line.
Spin is a tricky thing. When you're trying to avoid it - say, on a tee shot, where sidespin puts you in the trees - it's easy to make it happen.
I want you to know that I have nothing against Orlando, though you are, of course, far more likely to get shot or robbed there than in London.
What I say goes. I'm hitting shots that I want to hit. I'm doing the things that I want to do. I play it my way.
I'd like to be the role model to teach other people who have Down's syndrome to be actors and actresses and to be themselves and not try to be a big shot.
