A Quote by Bennett Miller
A lot of the time, excess on a film set is just damaging.
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One thing that is very different technically is that you don't get a lot of coverage in television. Not like you do on a film. I know we don't have time for separate set-ups, so I will design a scene where I'm hiding multiple cameras within that set-up. That way, if I don't have time to do five set-ups, I can do four cameras in one set-up. It's a different kind of approach for that. For the most part, a lot of television, in a visual sense, lacks time for the atmosphere and putting you in a place.
We live in a time of excess - excess population, excess information.
In film roles, I play a lot of heavies and a lot of bad guys, so I tend to be the jokester and the good-time Charlie on the set.
I'm planning some films in the U.K., and it will have pros and cons. It takes a lot more time to set up a film in the U.K., because you can't rely on much. In Greece, friends show up and bring what they can and you make the film. Well, that's a bit simpler than how it really is. But when you make a film with proper industries, it takes more time to synch all these things.
The comedies I have been in that have been successful were the ones where the set was the most tense. It seems that the comedies where you have a real nice time on the set, the film just sits there on the screen. Now that just may be the pictures I have made, I don't know.
Unfortunately, when you're working in film, it's this huge machine, and you've got to get everyone right there, so you get kind of locked into things. I'm not sure where the artistry in film making is. It's usually that moment when you're on set and you're working with the actors. That's the time to play around, the moment of theater. And then you can shape things. But a lot of it is just managing stuff. It's upsetting because you get away from the core.
For me, addiction comes down to basically where a pattern of behaviour has developed and that pattern of behaviour is becoming a very damaging cycle. It's sort of damaging your relationships, friends or lovers, it's damaging your own personal health and it's damaging for you and your workplace.
Not only do I look at the playback with the actors, but I look at the on-set assembly footage with the sequences with my actors as well. These are the reasons why I take twice as much time to shoot a film in Korea. Thinking back, I remember on my first ever Korean film, I never used any playback or on-set assembly, so all I had to do was to tell myself it's just like making my first ever Korean-language film. After that, I felt right at home.
I think film and television - particularly film - you are very isolated as a writer. If you're lucky, you have a good relationship with the director. Then you do make that development and come on set and be part of something. But ultimately, your work is kind of done by the time you come on set.
It takes a lot of time and a lot of energy and a lot of focus and dedication to do a film, and it's just not worth it if you're going to be miserable for even a day.
My advice to girls: first, don't smoke - to excess; second, don't drink - to excess; third, don't marry - to excess.
It's good to be busy on a film set because there is a lot of sitting around, so if you've got two roles to play at one time, then that's great to do.
'The Stepfather' was the first time I sort of carried a film, or led in a film, and doing it was fun, and I felt very special. Afterwards, though, I was terrified. I just thought, 'Wow, this is basically going to be about me. If this film is a success or a failure, a lot of it's on me!'
I can be working on a collection and a film at the same time. It can take a lot out of me, but the processes come from the same source. From a brief I set myself I can make a film, I can make a collection, I can make an installation.
I just love glamour so any time period that had a lot of excess and glamour, I draw inspiration from. All the stuff from the 60s and 70s, very specific times in the 80s.
Well, I kind of did the math in my head when I was like, 9. I was like, 'Well, if I want to make films' - because I want to be a director - 'I could just go on a film set and learn there.' And then I ended up falling in love with acting and the set and making friends all the time. And so I've just been doing that ever since.
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