A Quote by Brian Henson
And that was always my father's favorite part about shooting as well. Often my dad would shoot very, very late, he was quite a workaholic, they would do 20, 20-hour shoots and stuff like that.
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There was a scene in 'Qubool Hai' where Asad shoots his father. After shooting for it, I was drained completely. At times, my character's mood gets very depressing. Post shoot, it takes a good half hour to get out of character, to leave Asad behind.
Ninety-nine percent of everyday things are things we don't need - that goes for regular visits to the hairdresser just as it does for clothing. What would it mean if we all consumed 20 percent less? It would be catastrophic. It would mean 20 percent less jobs, 20 percent less taxes, 20 percent less money for schools, doctors, roads. The global economy would collapse.
Figure our what it is you don't do very well, and then don't do it. I'm not beating myself up about doing everything perfectly. The litmus test I always use for myself is: "Okay, if you won 20 million tomorrow in the lottery would you still being doing the same thing you are doing now with your life, Dough? The answer is "yes". I'm always very conscious of that.
My goal is I want to create the 20-20-20 club: 20 sacks, 20 tackles for loss, 20 batted balls.
We started the band when I was about 19 or 20. At that age, it would have been kind of hard to imagine a lot of the stuff that I've written. We were playing garage rock. I wanted to dash out three chords and scream. But if you do that for 20 years, what's the point?
My father was an entrepreneur - a sign maker, and he had about 20 employees - and often he'd take me to business meetings, and I would listen to him talk with his workers and customers. We would also talk a lot about business over dinner.
I always refused to give in if there was some argument with my father. Whether it was true or not, I refused to admit it and so often I would - well, tell lies, perhaps. I would either do that or change the story. Particularly if I felt that my father was being unjust, then I was very strongly motivated to not accept his ruling.
Often, I am asked, 'What was your father like?' or, 'What would he think?' These are very difficult questions to answer, as I was so very young when I lost my father.
When we used to go to the car-wash where people would wipe the windows, my dad would go out and help them and then tip them as well, so I learned my empathy from my dad, and my mum is very empathetic too, but in a very stern way; she will always check my ego.
In the last 20, 22 years I have sung here very often and I have always felt the affection and warmth of the Italians, and I feel very close to you.
Usually, I have in mind what I want to do. I shoot pretty economically, so I'm not shooting tons of stuff that I could change, all that much. I'll cut something or add a little something back, but not too much. This is maybe the producer part of me, but I'm always worried about the budget, so I shoot what I know I need to shoot for the film.
'True Blood' is shot on film. It's more like a movie, and they take more days to shoot it, plus it has an hour of content. 'The Good Wife' is network. They're shooting on HD. It moves quicker and they only have forty minutes of content instead of a full hour. Not to mention the difference of shooting, you know, rated-R stuff!
I love shooting guns. I would never shoot an animal or hunt, but I probably would be a very good hit woman. It's hand-in-glove for me.
'Balls of Fury' was a 45-day shoot when it probably - hindsight being 20/20 - probably should've been a 75-day shoot with all the ping-pong action.
I get very close to people when I'm shooting them. We would go and shoot a scene with Lucy, and I would spend the whole time telling her about Rob. Then I would go shoot a scene with Rob and tell him all about Lucy. Eventually they wanted to know each other. These are two people who would never have overlapped in any other way or context. We brought to the garden at Rob's office and just sat and watched what unfolded. I remember weeping behind the camera, because I was so moved by the way they connected.
There's something very surreal about driving a truck, looking in the rearview mirror, and seeing 20 cop cars behind you. Even though you know, 'We're just shooting. This is just a scene; we're making a movie here,' it's very unsettling.
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