A Quote by Bindi Irwin
I was so used to documentary filming, where it's one take. You can't really say, 'Make that elephant charge again!' And you talk to the camera. With movie filming, you're talking to someone else.
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I went from basically filming in my bedroom by myself, filming some funny videos, and then overnight, I switched into filming in some studios and some warehouses and family homes. I started filming with directors and producers and editors, and there were so many people in the room, so it was definitely weird.
It's actually a character choice for a movie I've been filming in South Korea called Okja. My director had this idea of having my hair be a very vibrant red/pink/watermelon color. We haven't finished filming so I'm kind of riding the wave of the red hair right now in terms of everything else that I have to do with The Last Tycoon press and you know, regular life. I'm really loving it. It's turning into a thing for me.
It's a strange thing when someone passes away. It's always when you're not expecting it that you're affected by it. When we first started filming, we were filming with existing characters in a location that we'd never been before.
I realised filming in my own apartment that it was nice to come home and have some space. It worked for 'The Little Paris Kitchen' but now I've learned a lot about TV; you need space for the camera and you want to be mentally sound after filming.
I can go back to my very first movie, Thirteen, and think about that exact moment when I saw Nikki Reed and Evan Rachel Wood do their chemistry read audition together. It just came alive. I was filming it with a video camera and I was like, "I know I can make a good movie now."
I did documentary film for a long time, and I spent a lot of time behind the camera, fervently wishing that the reality I was filming would conform to my narrative propriety. But you can't control it.
I learn the lines as soon as I can and then the challenge really, for filming, is to show up and be there and respond to what's around you. That's where the gold dust is. It's really strange, no amount of preparation will help you with the magic of spontaneity on the day [of filming].
I don't want the people I'm with on this journey to feel like I'm filming them all the time. I don't want them to constantly feel as though they're being watched. So I will have the camera ready at all times, but I will only film when something is really worth filming. Those are the moments when the person being filmed is usually not aware of it.
When we were filming 'Twilight,' we didn't expect anything. We were just filming a movie that we wanted the fans to enjoy. And then it kinda just blew into this whole other world.
There was a strange atmosphere on the set because we were filming in this large house, which was used for troubled children. You'd go in and find walls had been burnt down. The building was charged with this history and it stayed with us throughout the filming.
That was an amazing time period [ CBGB filming] to transport to during filming - the clothes, the music, the lifestyle - it really helps to get into character when there's so much that changes from the moment you step onto the set.
There are two phases to a movie. First you shoot the movie, and then you make the movie. Generally, post-production is longer than filming.
Filming 'Eclipse' - Eclipse was my favorite book so I was really excited to start filming the movie. I just love that it's the height of the love triangle. 'Twilight' develops Edward and Bella's relationship, 'New Moon' develops Jacob and Bella's and in 'Eclipse,' the three of them are physically together.
My family, they're not really that involved in what I do. Career-wise, they're very supportive. They're involved after the fact. I don't tell them anything usually until I'm finished filming it or mid-way through filming it.
If anything, I'm overacting in the ring because of the facials and the body language. I want the guy in the cheap seats to be able to see what I'm thinking, the expression on my face. But when you're filming a movie, it could be a two- or three-camera shot, and you're doing it over and over and over again. It's not live TV; it's a lot different.
When you're making a real documentary, you shoot it and the movie happens. You don't make - this sounds corny - you don't make a documentary, a documentary makes you. It really does.
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