A Quote by Demian Bichir
When you shoot a film, you have very little time to waste, and I try to go into the character as soon as possible and stay there as much as I can.
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The first thing I learned as a producer is that you have very little control over the life of a project. Anything can stall a film from financing to scheduling to casting. Things fall apart all the time. Don't waste time on something that just won't get made. Try to have as many projects going at one time as you can handle.
It's important to me that I don't spend too much time away from the family. I try to pick jobs that will keep me as close to home as possible or, if I have to go far away, for as little time as possible.
I don't like to shoot on sets at all. As much as possible, I try to shoot on location.
I think actors are getting so much more power these days, but I'm not. I stay very much away from the decisions, the way in which things are orchestrated, what's been changed. I just try to stay completely in the role as the actor and as the character.
Personally, I have as little to do with politicians as possible. The ones that I've met I've found very boring. They're extremely egotistical, incredibly self-important. If I can help it, I try to stay as far away from them as possible.
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.
You spend so much time developing a character when you do a film; so much of your work is done before you get set to shoot because you've been working on the character: the way he walks, the way he talks, what might upset him, what might make him happy.
I felt that it was my duty not to senselessly waste my time. And since I didn't want to waste my time, I tried to accomplish as much as possible.
A little of the sketch character Pootie Tang went a long way on HBO's now late, probably soon to be lamented 'Chris Rock Show.' So it's surprising how much fun the character's film debut, 'Pootie Tang,' is.
I try to shoot film wherever possible. There's nothing like it.
I shoot very little film. If you just do coverage you're shooting any number of potential films instead of just one, and I was shooting just one specific film. Film is cheap but time is expensive.
For me, the challenge of a period film is that, unlike a contemporary film where the character can be very free-form when it comes to the acting, there's a burden to acting in a period film because you have to stay within the character's historical background and the gestures of certain periods.
Human beings are attracted to novelty: to probe the 'adjacent possible.' We didn't stay in the caves. We didn't stay on the planet, and soon we won't stay within the limitations of our biology. We move forward. We transcend our limits. We go to the moon, and we create the Internet.
When you make a film, you sign a contract with somebody, and it's not only legally binding but morally binding. You agree to give this man a certain number of weeks of your life, and you just go for it as much as possible. Because, whatever happens, the film is going to come out, so you might as well try very hard to make it a good one.
When I'm writing, I try to have the mask of my character on as I'm walking through the world. When I'm not at my desk, the rest of the time, I try to stay in that character and see the world the way that character would It's almost like method acting in a way — keeping the character close the way the actor keeps a script close and always tries to be in character.
I kind of live under a rock, to be honest. I very much stay in my little film world.
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