The best part of shooting 'House of Cards' in Baltimore is eating lots of soft-shell crab.
I guess I'm used to TV where we don't really rehearse. You block it out, and then you just start shooting.
Something like 'The Matrix' would be ideal, something where it's super agents and wire work and special effects - not necessarily running from bombs and shooting people. Something more sleek, like an assassin.
I come from a background of hanging out with friends and shooting videos with them, with funny stuff coming out of the group. I guess we got the same charge jocks get out of sports.
I dread shooting with animals. I hope I never get a script with snakes.
People working in films are somewhat like gypsies: we move from set to set and spent weeks, sometimes even longer working while shooting a film. Right from the spot boys to the make-up guys and cast and crew, we become a kind of family.
There are times when I'm driving home after a day's shooting, thinking to myself, That scene would've been so much better if I had written it out.
I don't know how many lions and leopards I've shot. I've shot two elephants, which was enough - never again. It's a melancholy and moving thing to hunt an elephant. It's like shooting an old man.
I used to follow celebrities, and I remember I watched Sanjay Dutt and Pooja Bhatt shooting for 'Sadak'. I was standing on the road at three in the night, but little did I know that I would be making a film with Sanjay at some point in my career.
After a shooting spree, they always want to take the guns away from the people who didn't do it. I sure as hell wouldn't want to live in a society where the only people allowed guns are the police and the military.
I think my biggest break though came probably on Patriot Games because it was the biggest, longest second unit up to that point. It was like five months of shooting and a huge crew.
We're shooting for the title of hardest-working band in America.
Actually, I had no idea what shooting hoops was or were. I thought dunking was something you did with a beignet and a cup of steaming coffee. I wasn't exactly sure what a Knick was.
When I'm shooting on location, you get ideas on the spot - new angles. You make not major changes but important modifications, that you can't do on a set. I do that because you have to be economical.
When I'm shooting a film, I don't look at playback. I don't go and do a scene and then hurry up and watch what I just did. I never look at it so I haven't seen any of it.
I almost always do things that I like, in some form or fashion. Every once in awhile that means that I don't think the script is any good and I don't have any trust in the people, but the film is shooting in Sri Lanka, or somewhere like that, so I'm going.
I quite clearly remember driving home at 9 a.m., after shooting all day, in a bathrobe, with bodypaint all over my face, and going through McDonald's drive-thru. I ordered a coffee to make sure I didn't crash on the way home. And the girl working there, she didn't even bat an eyelid. I guess it's a regular thing down in Hastings McDonald's.
Serious sport is war minus the shooting.
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.
Internationally, I love going to Switzerland. I went there many times for shooting and loved the Alps, the tranquility, cleanliness, the greenery and the warmth of the people there.
I went on a cross-country trip with three buddies to find out what our generation is about. I bought a video camera, started shooting, learned as I went, and ended up with 'Our Time,' a feature-length documentary about what it's like to be young in America. I was hooked.
When I was auditioning, I didn't know it was 'Daredevil.' Everything was secret. They're secret agents. They wouldn't give you any clues. I was a big fan of the show, and I think it helped me, once I got the part, to really understand the world that they live in. It helped me during shooting.
Of course I would never compare myself to someone who actually went through a war, but I definitely matured shooting 'The Pacific.' I'm more calm and I have more patience.
When I went to the University of Texas, my first day of freshman year in 1994, I took a student tour, and I asked about the tower shooting. I was told, 'We're really not supposed to talk about that.' That was the official stance from the university.
When your tummy is full - even while shooting for long hours - you feel good.
When I am shooting, I am inside the theatre, when I am in the editing room, I am inside the theatre. I always try to feel what they will feel. I see a film, not as a director, but as the audience. If I am entertained, they will be, too.
I played golf for 25 years before I made a hole-in-one of any kind. I was on the tour for years before it finally happened. Eventually I made 23, but boy, that first one was a long time coming. It was the price I paid for not shooting at every flag.
The live performance aspect of shooting a multicamera sitcom is wonderful. You have that instant audience reaction.
Movies are made in the scriptwriting process and prepping and preparations for the shooting process.
Skype is one of the world's greatest inventions. I use it almost daily to connect with the people I care about when I'm away shooting. It makes the distance so much more bearable and I actually feel like I'm in the same room as my loved ones.
I started in documentaries. I started alone with a camera. Alone. Totally alone. Shooting, editing short documentaries for a French-Canadian part of CBC. So to deal with the camera alone, to approach reality alone, meant so much. I made a few dozen small documentaries, and that was the birth of a way to approach reality with a camera.
I read the 'Twilight' books before the movie and the whole craze happened. And then I loved it. I was in love with Edward before every other girl that says she's in love with him was. Because I read them a long time ago shooting a movie in Salt Lake City, and one of Stephenie Meyer's friends said, 'Make sure you read my friend's book.'
For 'City of Ghosts,' I really didn't speak any Arabic. It obviously made it more difficult, but I also found it to be an advantage while shooting. It allowed me to focus on the emotion of the scene as opposed to just chasing dialogue.
The fact that I have done films down South didn't boost or hamper my chances here. In fact, I was still shooting for both my Telugu films when I met Ashu sir for 'Mohenjo Daro.' During the audition, he gave me five scenes with lengthy dialogues. Once I cleared them, he gave me a song to dance to. So, my Bollywood entry was no cakewalk.
I started to practise shooting more seriously, more than once a week. I wasn't very good at it before, but I got a lot better. I've also become a little bit stronger on the tracks, too, which has increased my chances of success.
If I go home from a day of shooting, and I haven't at some point felt the magic, I'm really frustrated.
