Multi-camera's fun because you have the immediacy of the audience and just being able to tell the story more or less straight through. The thing I like about single-camera is that you have the luxury of shooting a lot of different options.
Atmosphere on the sets of 'YHM' is absolutely brilliant. It's kind of picnic always, and we have a gala time shooting together.
When you're shooting with long lenses, even if you're shooting a close-up, you feel the air, the distance between the camera and the subject.
At 7, I was shooting 3s with so much ease that the guys at the neighborhood park were impressed. Michael Jordan was one of the best humans to walk the earth in my eyes, third only to Jesus and my mother.
I didn't audition for the part! The role was offered to me, and I was so excited to be a part of 'The Haunting Hour.' It is such a cool show and it was so much fun shooting the 'Intruders.'
I love shooting movies. I love the shots. That's the thing that I love doing, and I've just never been able to do it.
You can't start a movie by having the attitude that the script is finished, because if you think the script is finished, your movie is finished before the first day of shooting.
I like working with south Indian directors because they are very disciplined. They visualize their entire story and screenplay in their heads even before they start shooting, which I respect. They finish their work on time. Being a disciplinarian myself, this suits my style.
When I started doing advertisements, I really enjoyed the whole process of shooting, and I realised that I could do the little bit of acting required quite easily. My directors also told me that I have a flair for acting and that I should polish it and try for films. Then I thought I probably had it in me - why not give it a shot?
It's beautiful, shooting in Ireland. It's an amazing country.
I don't mind a little Sturm und Drang. When I was doing 'Riding in Cars With Boys,' I wouldn't smile at anybody, because my character, Bev, was angry at the world. I'm the opposite. Inside my head I'd be like, God, I'll explain to you at the end of shooting that I'm not this person.
TNT is a really great company to do a show for. They really believe in their shows and give shows a lot of support. They have it all worked out before you start shooting. Everybody's on the same page.
I dropped out of school at 17 and joined the Irish band The Frames, getting my first glimpse into the world of professional film making while shooting of a number of rock videos.
When I'm not shooting, I don't wear much makeup. I just moisturize and maybe put on a berry-colored balm on my lips and cheeks, and then mascara - that's it. My face and hair gets abused every single day, so I try take it easy on off days.
I remember doing a little student film where we had a guy that couldn't pull focus. We ended up spending three times the amount of time shooting this thing as opposed to if the guy could've just pulled focus.
Shooting the music video for 'Party' on Thailand's Ko Samui Island was such a blast.
Ultimately, making movies is a really, really small world. Being on sets and going to the same locations, like shooting in Shreveport, you're always working with somebody from another set that you worked with.
My first audition happened to be for 'Kindergarten Cop,' and I took that role. I was only starting to learn English at that point. Spanish is my first language, so they made me a speaking character in the movie. I didn't really know I was shooting a movie. I was just having a lot of fun with 30 kids my own age.
Shooting the ball is a part of the game. Everybody can shoot in their own way. Not everybody can make. But everybody can shoot.
I'm shooting for longevity. The road is hard on your body.
Even when I'm training alone, I always prefer doing soccer-related stuff. On my own, I'll run through cones or do some shooting exercises or pass the ball against the wall.
I went around Coimbatore quite often while I was shooting for Velayudham. It's a fascinating place with a lot of energy.
While shooting 'The Unit', I went to the Middle East twice to see the troops. I met some great men and women.
I'm busy working on every aspect of my game - defense, shooting, rebounding - but I really want to become a better overall team player. Help my teammates become better players out on the court in order to win more ball games.
I love long-range rifle shooting. I like anything that deals with precision. I also find that with archery. On my ranch, I have my own range with 3-D targets of animals and hay bales from different distances.
After I directed for the first time, I wanted to call every director I'd ever worked with and apologize. In television you are tasked with shooting 42 minutes, or whatever, in eight days. That's not a lot of time.
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 had this vision of shooting a great white in the studio with all the edge lights I use for movie posters. I knew that I couldn't bring the great white to the studio, so I had to bring the studio to the great white.
I don't really know Hollywood, but living and shooting in L.A. was very motivating, inspiring. The lights, the extras, their American faces, the energy, the Orpheum Theatre. It was all very inspiring.
I auditioned for 'Loving' two years before we started shooting, so in the hopes that I would be playing Mildred, I watched it again. Also it's one of the best documentaries I've seen. I found this couple interminably fascinating; even if I didn't get the part, I just wanted to know more about them and their story.
Once I finished writing the script, I couldn't find my Pandi. It was actually little difficult to cast for the role. One fine day, when I was shooting for 'Vada Chennai', Raj Kiran's name just popped into my head.
With 'Eagle of the Ninth,' every shot was extremely planned and organized. The director was like, 'Do this!' And I say, 'How was it?' and he says, 'Good.' It was very odd. I would never know where he was headed, or even if he was shooting me at a close-up or from a distance.
I think the height of ridiculousness was when I was playing Elizabeth in 'The Golden Age' while preparing to start shooting 'I'm Not There.' I literally finished filming Elizabethan grandeur on Friday, flew to Montreal, and started being Bob Dylan on Monday.
Rarely ever see or meet the writer during shooting.
Shooting on location and dressing locations in Los Angeles is shockingly expensive, especially when you're talking about webseries-level budgets, so the opportunity to build our sets in YouTube's space gives us a lot more room in our budget in being able to create the world of 'VGHS' properly.
I've hidden behind the camera my whole life because I much, much, much prefer shooting. Being behind the camera is my safe space, and it's my creative space, too.