A Quote by Tom Verica
Right before 'American Dreams,' I started to pursue these avenues, like short films and getting into a couple night courses to really study photography and cinematography, and the language of visual storytelling.
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I was not getting work, even after auditioning for films. So I started working in a studio as a photographer; I assisted a cinematographer for two ads. I was thinking that I will get into photography or cinematography or assist someone. But then the 'Dangal' offer came, and I was busy with the auditions.
When I was at college, the idea of fashion was more immediate to me, whereas art photography, the depth of it, was a different thing. Storytelling - fanciful storytelling - can only be told through fashion photography. It's the perfect way to play with fantasy and dreams.
I love to learn, and I started doing a lot of studying of Spanish-style music and really started getting into it and how it is just a completely different form of guitar playing. It is just like if you started speaking in a different language like Japanese or something. It is something that you have to study and work at a lot.
In high school, I started training, singing with choirs, and getting voice lessons and doing a lot of creative writing and decided that that's really what I wanted to pursue as a career, and that's what I was going to study.
I've always been into visual effects. It was something I took keen interest in before films happened. Ironically, I am a part of 'Raaz 3,' a film that is shot entirely on 3D. It has encouraged me to pursue my dream. Hopefully, if time permits, I will travel to the United States and attend a crash course in visual graphics and animation.
European films were what it was about for me - the sensations I needed, the depth, the storytelling, the characters, the directors, and the freedom that you can't really find in American films
European films were what it was about for me - the sensations I needed, the depth, the storytelling, the characters, the directors, and the freedom that you can't really find in American films.
I just directed another picture called 'American Dream' with Nick Stahl. Just finished shooting principal photography right before I started ['Lincoln'].
I just like voicing films in general. I do a lot of documentary work and it's a short hop really to narrating a character, especially if you're on film and you're there in a visual way. It sounds obvious, but voicing an animation really focuses you on the way that you're communicating through your voice. It's a very specific ability that you need to be able to have in order to pitch it just right.
The audience I'm targeting doesn't care about the language spoken in the films they watch. They're interested in more important things like story, performance, cinematography etc.
I really like photography, and I'd like to do more of that kind of thing. If I had to choose a different job within the industry and do it well, I would love to do cinematography.
It is that promise that has always set this country apart-that through hard work and sacrifice, each of us can pursue our individual dreams but still come together as one American family, to ensure that the next generation can pursue their dreams as well.
The whole visual language of the movie is developed way before we get to set. Especially when you're doing visual effects and you don't have a lot of money to mess around, which we didn't, you have to really preplan everything. Pretty much every shot in the film was figured out months before we got to set.
But short films are not inferior, just different. I think the short gives a freedom to film-makers. What's appealing is that you don't have as much responsibility for storytelling and plot. They can be more like a portrait, or a poem.
When I started going to school, I started getting used to things, like the language. After that, I started adapting to school, friends, and everything. It was really difficult, to start with, but I survived.
Photography is a system of visual editing. At bottom, it is a matter of surrounding with a frame a portion of one's cone of vision, while standing in the right place at the right time. Like chess, or writing, it is a matter of choosing from among given possibilities, but in the case of photography the number of possibilities is not finite but infinite.
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