When California provides the same value as other locations, I'd gladly shoot all my pictures here.
Why shoot for the moon? It matters because when you try to do something radically hard, you approach the problem differently than when you try to make something incrementally better.
Shoot, there's a committee to tell you everything at a record label. You definitely have to know who you are if you want to look like you at the end of the process. We've all seen people get record contracts, and by the time they're spit out by the machine, we don't even recognize them.
Shooting the ball is a part of the game. Everybody can shoot in their own way. Not everybody can make. But everybody can shoot.
If I don't fall in love with my characters, I cannot shoot.
Any project that you shoot, it's never going to be completely finished the way that... I don't think I've ever worked on anything where every scene has been kept in the order that it was originally in, or that it hasn't been cut down in some way.
There was a kind of infiniteness to fiction that I found sort of... disconcerting. I remember having these really panicky thoughts, like, 'I can make this person say anything. I could make him do anything! I could put a jetpack onto his back and shoot him into space!' I don't like this feeling of having no rules.
'Writing' is the wrong way to describe what happens to words in a movie. First, you put down words. Then you rehearse them with actors. Then you shoot the words. Then you edit them. You cut a lot of them, you fudge them, you make up new ones in voice-over. Then you cut it and throw it all away.
My mom has this thing where if I'm doing anything doing dirty or crazy, she sniffs it out and yells at me. But the good thing is my mom doesn't have cable, and so much of the stuff I've done was on cable, so many times she'll miss it. I tend to gloss over the crazier things I shoot.
When you're working on a novel, you never think about how much it would cost to shoot one of your scenes. But that's a huge consideration in film and TV.
I did a shoot with massive iguanas in Costa Rica when I was modeling back then. They were like little dinosaurs, and they sat right across my arms and by my face. The guy told me not to make any sudden movements because they had enormous claws. The guy said he would rip my skin if he attacked.
I wake up every morning bolt upright, whether it's a commercial, not that that's a good thing or a bad thing, because I shoot commercials in between movies. But whether it's a commercial or a movie where I'm shooting a major train wreck, the thing that worries me most is when I'm doing a performance thing.
I guess we're all lucky to be in this profession where you can be someone else for two or three months on a film shoot. I find it restful. Vachement agreable.
I did not want to go out at 5:30 in the morning with my stocking cap and my navy pea coat on and shoot lines and grades for the rest of my life.
You know, I remember Career Day in high school. I remember plumbers and lawyers... I don't remember a booth where you could sign up to learn how to shoot chickens out of a cannon at the windshield of an airplane, 'cause there would have been a line at my school to do that!
You can't shoot in sepia, so converting into black and white and then into brown makes everything feel less real.
In L.A., we have a saying - 'What do you do?' It's less of a question and more of a self-defense mechanism for wayward screenwriters looking to slip you a first draft, or the occasional actor looking to get in on the latest shoot. But I hate the question because of my own answer - I write about games.
The biggest difference for me is momentum. On a smaller film you get to shoot sometimes four or five scenes a day and you've got to do the tight schedule. I think I really feel the luxuries of a big budget film.
It's things I wouldn't normally do in my real life, so when I go to work and get to beat people up and shoot guns and get waterboarded, those are things I find completely interesting.
'The Muthaship' was an experiment. All my friends are working at Endemol, so they just kind of pushed me into it to see if we could shoot a little web series on an iPhone - and that's what we did: we shot it on an iPhone. So it's so experiential and so silly.
In my early teens, I knew I wanted to do television production. I loved cameras, editing and producing, anything that had to do with television production. My friend had a production studio across town, and we'd go over there at night and shoot and edit. I produced my father's televised service for 17 years.
Sometimes, you don't know what's going to happen to your character until the night before you shoot the scene. So, sometimes, you get a great big surprise at the very last minute, which is scary sometimes. You don't have a whole lot of time to prepare.
If you're a basketball player, you've got to shoot.
As an actor I want to do as many takes as I can. I wanna shoot the scene... or shoot the shot 'til they make me quit.
During the shoot, when you're not at work, you're learning lines for the next shoot, and that can be all-consuming.
I don't feel that comfortable being on the runway with a G-string. I shoot G-strings with Victoria's Secret, but on the runway... It's really about the moment. I work with professionals. Professional people make everything look perfect, they make everything that you're wearing look great, if it's in a picture or on the runway.
A career high was when I did a cover for 'W Magazine's July issue with Steven Meisel. So few girls shoot with Meisel in their career, and a lot of people had told me I would never achieve that, so it was a dream come true.
For me, being able to say that my first-ever photo shoot was with one of the most well-known and iconic fashion photographers in the world is unbelievable.
Everybody hates to edit my film. Back in the day, we called it film - now, my digital cards. But I shoot an awful lot of pictures. I don't want to hesitate, because I believe the moment is everything in a picture. So, I take the pictures.
All you can do is really the prep work and make sure you're ready to hit each golf shot. Outside of that, you're not sure really what's going to happen. It's a funny game, but I think that's why I love it. You never know, one day to the next; you could go shoot 62, and the next day you're going to shoot 78, and you can't predict it.
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.
How do you shoot a 150-day movie? You shoot it one day at a time.
In my job, people tell you that all the time: 'This shoot was great. You look amazing.' But you never know what they say when you turn away.
A lot of the point mags are going out of business. They dropped the pay tremendously and it's all because of the internet. I used to go out once a month to LA and shoot for one week. I'd make a ton of money then come back to New York and do whatever I wanted.
For me, the movie's always evolving as I'm doing it. I throw things in as we shoot, and I take things out as we go. I want to create a whole life and then select the pieces that best sort of describe it later, you know? So there's a lot of wastage when I make a film.
Studios are so used to digital now, and there is a mythology that it's cheaper. But it's really not cheaper. For instance, digital is great for night exteriors; everybody knows it's a video tap, so it's very responsive to light. So you can go out at night, shoot with digital, and it's gorgeous, beautiful to look at.
