I believe really deeply in the pilot process because you learn things about tone and casting. Even some of our best shows have had substantial re-shoots and reworking before they've gone on the air.
Girls at war opt for a quieter cruelty than fistfights and drive-by shootings. Girls circumvent the corporeal and go straight for each other's souls. The bleeding is harder to stanch.
If everyone worked with wide-angle lenses, I'd shoot all my films in 75mm, because I believe very strongly in the possibilities of the 75mm.
I didn't have any desire I might have had 10 years ago to shoot every single word that I wrote.
I definitely think there was some overacting on the part of the customers and the wait staff. The people who came in during the shooting were clearly there to have a moment on television, and that's fine.
I'd had the theater background for so long that I know that world inside out; I just didn't know the pace of how a TV set works, like how a show shoots.
No more shooting from anyone. Or I am going to get seriously cranky with everyone. Suddenly, and violently and all over the place.
You don't service a big, fun premise comedy and then shoot yourself in the foot with too much irony. You need the audience to invest in the fun and the warmth and generally care about the characters.
Terrorist bombings, like rampage shootings, are events that maximize the amount of publicity per amount of damage. That's why people do them, because they know they will set off a media frenzy.
If I wouldn't of spent so much time shooting spit wads at my English teacher I'd know how to punctuate good thing I normally write poetry.
Rough Riders took 13 weeks to shoot, plus a week of training. The same guy trained us trained the cast in Platoon. Except, instead of radios, we used bugles to signal.
I've really learned over the years how to control my adrenaline and let it all out when they shoot the gun versus letting the crowd and the lights and the camera get to me.
If you look at classic Hollywood films, they tend to shoot close-ups on quite long lenses and the background it out of focus. You know, it's just a mush.
People love a happy ending. So every episode, I will explain once again that I don't like people. And then Mal will shoot someone. Someone we like. And their puppy.
When a documentary filmmaker, working in the style that I do, suggests that there has been a shooting ratio of 40 hours to every one hour of finished film, that doesn't mean that the other 39 are bad.
At the end of 2003, my game was complete. Shooting, defense, using the dribble, transition, midrange stuff was all there. Then it was about fine-tuning and trying to improve in each area.
A week before shooting, they told me, You don't have the part, yet. We're still trying to find a handicapped kid who can act. Either that or we break your legs.
With the fight scenes, they would take a video camera and shoot alongside the camera so we would piece it together on the computer and had an extremely rough cut of what we were doing.
It's interesting, the things you learn when you're 21. I learned never to get tattoos in the middle of shooting a movie. Because if you're not Angelina Jolie or Megan Fox, they will fire you.
You know, episodic TV directing is a very long and arduous job. You have very short schedules, short short shooting days, and you have to get lot of pages done.
When you're shooting a network television show it inevitably starts airing a few episodes in, and depending on the ratings and the response from the public, you find yourself tweaking your performance or the scripts go in a different direction.
