A Quote by David Duchovny
I don't mind close-ups, I like them, but they're kind of forceful - you see a lot, you get a lot of information in a close-up. There's less mystery.
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The great part of appearing on game shows is that when you answer a question the camera takes a close-up of you every time. You get more close-ups than in a movie, and that's terrific for audience identification. The people have to see you to like you.
I shot a lot of close-ups on this movie 'cause there's like a dual mystery, she's searching through her haunted past to find some truth and she's also following an external mystery where she comes to think she might be the killer.
If you push in every time there's a big moment, then the tenth time you push in, you're not going to get the same effect. Or if you have too many close ups, then when you have a big moment and you want a close-up in order to make a point, it doesn't mean anything because you've already been doing close-ups. It's like writing in all capitals. Then after a while that doesn't mean anything. So, just because you can do something with a camera doesn't mean you should.
I'm very interested in clans and the way people group together, and there's a lot of group shots. There's a lot of people in positions that people feel like they're in attack mode, kind of pointed at each other in the frame. I'm not a big fan of shooting something that looks like it could belong in any movie, I'm not a fan of okay, "wide shot, wide shot, medium shot, close-up, close-up, we'll figure it out in post." I hate that.
I see that things are getting made a lot faster for less money and there are a lot less opportunity, I think, for actors. There's not a lot of work in the U.K. I mean, that's why everyone's moving to America because that's where the work seems to be. But it definitely feels like a lot more of a slog to get a gig these days. I suppose that's a lot to do with our current climate and financial messes. I certainly see that people seem to have to work harder with a lot less time.
I make up stories in my head all the time, but I've never written them down. But I write a lot of story songs. Any song I'm singing, I sort of see it like a movie in my head. That's why a lot of times I close my eyes when I'm singing.
I think I see the difference now, between loving someone from afar and loving someone up close. When you see them up close, you see the real them, but they also get to see the real you.
When I got diagnosed, the more research I did about it - MS overall, as a subject, as a disease - there's a lot of misconceptions and there's a lot of unknowns about it, and there wasn't anyone out that was close to my age or close to anything like me out there.
If you zoom close-if you get really close to someone, if you really get close to yourself-then you lose the other person, you lose yourself entirely. You get so close you can't see anything anymore.
As a writer, one of the things we all learned from the movies was a kind of compression that didn't exist before people were used to watching films. For instance, if you wanted to write a flashback in a novel, you once had to really contextualize it a lot, to set it up. Now, readers know exactly what you're doing. Close-ups, too.
We get the best people we can get and it turns out a lot of them are women. I've said this before If you hire people solely on their merit you wind up hiring a lot of women. I wonder how many other shows even come close to our numbers.
What I do not like, the kind of high-resolution cameras, 4K, 6K, for shooting dialogue, for having faces and close-ups of actors, and you see every single pore in the skin.
Most of the telly I do only has one camera and the reason you have to cook it twice is you have a close-up, so you see what is happening really close up and then you have a wide shot, which is like standing back so you see the whole fish and the kitchen and, like it or not, you have to do it twice.
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.
You get so close, a lot of close calls, and then it just doesn't happen. That's just the way the industry is. It's very difficult.
Most of my close friends, growing up, were women - and even after I got married, I still maintained a lot of those friendships. But as they get married, and as I get older, I'm making a lot of the transition to the husbands.
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