A Quote by Dan Stevens
It's great when somebody is able to communicate an actual shot sequence to you and you know the world you're inhabiting with that. It's literally a haunting tune.
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When you know the lyrics to a tune, you have some kind of insight as to it's composition. If you don't understand what it's about, you're depriving yourself of being really able to communicate this poem.
A lot of the issues of rhythm in film are found in the editing because it's very rare that any sequence is the sequence that is shot.
Breakfast Club was great because we had a real rehearsal, and we shot primarily in sequence.
TV is tricky. You can do some stuff and people will tune out and never tune back in. It's sort of like putting a bad taste in somebody's mouth. Some people may not ever tune in again. And then there's some people that will tune in just to tune in and see what's gon' happen.
It's weird - on almost every film I've worked on, the first sequence we storyboard ends up being the first sequence that goes into animation, and ends up being almost shot-for-shot the same.
Breakfast Club was great because we had a real rehearsal, and we shot primarily in sequence. I thought that was going to be how movies were done. I didn't really know how lucky we all were. We had a director that liked actors. I didn't know that was going to be rare.
With all fashion, what we do is play at being somebody else. We play at inhabiting another kind of world.
Dancing is never excruciating as preparing for it is. For instance, the song 'Chamma Chamma' had heavy outfits and even more heavy jewellery. 'Kambakht Ishq' was shot in extreme heat during the day and a rain sequence in the night, so we were literally drenched throughout the night.
I don't want to see a world in which women can communicate on Twitter, but their actual voices are not heard.
I've never had an actual haunting experience, in the way you might anticipate a ghost in a movie haunting someone, but I do feel presences around me all the time, and I do feel that memories haunt us the way ghosts haunt us or might haunt characters in a film.
If you have a great idea, you should be able to communicate it as well. It's like the sound of one hand clapping. You have a great idea but aren't able to express it - well, how great was the idea?
The great thing about a big studio movie is that you get to work with the best, the most talented craft people in the world. But you have to be able to communicate, trust, and empower everybody.
It's always important for people to be able to watch WWE, especially because it's a global product, it's important for people all over the world to be able to look at the screen and see somebody who looks like them doing great things. And in turn, that inspires them to do great things.
Where we shot in India, you could literally dump the camera off the back of the truck and you'd have an amazing shot.
I think I need to play somebody who expresses themselves and is able to communicate on a more open level, something really different.
I don't want to be someone whose shot takes you out of the dramatic sequence or takes you out of the emotional story that you're trying to tell or says, 'Hey, look at this cool shot I have here.' To me, that's not right.
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