A Quote by Christopher Heyerdahl
Every episode of 'True Blood' is like shooting a low budget feature.
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Going from a short to a feature is like going from crawling to flying. It's a big jump, really. Everything triples - size of crew, budget, shooting days, the cast. Not to mention the stakes - as a first time feature filmmaker so much rides on this film.
I'd watched every episode of 'True Blood' from the very beginning. The show's characters were in my blood, so when I started, I was really prepared. I made sure I wasn't the new guy asking stupid questions on his first day.
I do like working on independent films where it is a smaller budget and less pressure. The pace is also quicker than that of a big budget film. You are shooting at a fairly fast pace. Sitting around for three or four days can be quite draining. So I guess in terms of film or television, I would say filming an independent feature.
I am going to be on 'True Blood.' It was really exciting. I had a great time shooting it. I spent the last nine months shooting this season and it was very secretive, very sexy, a lot of blood and fangs.
People gravitate occasionally to the brilliantly made art low budget films, which is maybe one out of every five hundred low budget films made.
When you're shooting a low-budget movie you're never just the director: you're also in the catering department, and hair and make-up and a part-time grip. I can't even imagine the luxury of not having to keep an eye on every aspect of production while directing.
I was talking to Shonda Rhimes the other day and I said, "I. Do. Not. Know. How. You. Do. This." While we're writing episode 10, episode 6 is shooting, episode 3 is in the edit, and episode 2 is in its color session...You've got seven episodes in different parts! It's a wild, wild, wild ride, which I thoroughly enjoyed. It was badass and amazing.
I had watched an episode of Black Mirror almost exactly a year prior to when I started shooting my episode. I was by myself in New Zealand, and my husband was like, "You have to see this show. It's so incredible."
When you're shooting super-low-budget - we had 20 days to shoot 'Diary,' and a little over $2 - time is money.
I think everything you do, whether it's low budget things when you're first starting out or full feature films or when you're working with Hollywood, you're always learning, all the time.
I wanted to try every style available to me - large productions, small productions, studio films, low-budget. You just can't sit around and wait for every big-budget film to come along.
My feeling is, I do a lot of low-budget films. I don't do low-budget acting. I have no interest in just goofballing my way through, thinking, 'Ah, no one's ever going to see this anyway.'
I started making little films with a 16 mm camera as an undergraduate at Yale. My first job out of college was 'assistant editor' on a forgettable low budget feature.
Television moves so fast. A series moves at such a rapid pace and things are changing, episode to episode, where you're going, "Wait, why am I doing this? This last episode, you told me I was doing this." You're shooting at a moving target.
What's frustrating to me is when, on a low-budget movie, people don't take chances. A big-budget movie, that script's your bible; nobody's going to risk going off the page. But when you're doing a very low-budget film, why not take some chances, intellectually, artistically?
'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!
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