A Quote by Fred Savage
I was always very interested in the storytelling decisions that went into directing. It just held this real allure for me. You know, if we're doing a scene at a dinner table, they weren't all shot the same. 'Why was the camera here for one moment and there for another?'
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We used hand-held cameras 50 years ago. It wasn't something new. Sometimes we used a tripod, or we'd have a tracking shot, and sometimes - like when a character was being chased - we used a hand-held camera because it was right for the scene. In those cases, it helped the mood; it created immediacy and a feeling for the viewer that they were in the scene and in the moment.
My first scene ever on camera was a dinner scene and I ate all the food. They yelled cut and the actor across from me was like, 'You know you're going to have to eat the same thing every single time.' I learned the hard way.
I'm very heavily involved in the editorial post-production process, and the camera - it's just such a big part of my storytelling language. I like creating the tension; I like creating the emotion through the movement of my camera, or the lack of movement through my camera, depending on what fits the scene best.
Certain things can't be approximated, so I'm always interested in getting in another way, one which makes the reader bend in closer to the scene even if that scene, especially if that scene, is painful... Brutal language isn't necessarily the most truthful way of describing a brutal moment.
When I was a kid, I'd create my own movies at home. I'd record myself doing a scene, then stop the camera, change my clothes, and do a scene as another character. It sounds silly, but I just loved to tell stories.
If the film isn't in some way going to study behavior then I'm not interested, but the reason why I'm not interested in directing in film is that it would take me, to be as good an artist as I feel I am an actor, it would take me another 35 just to conquer.
Going to directing wasn't a reaction away from acting as much as it was a move towards something I always wanted to do. Ever since I was a kid, I was interested in the camera and how it worked and why one director would place it in this part of the room and then another would place it in that part of the room.
I stole a ton of film language from Steven Soderbergh and 'The Limey.' It's the definition of elliptical. It was the first movie I remember that introduced me to storytelling that isn't just one scene after another, and that things can be mixed up in the way that real experiences can.
After directing the first film it feels kind of tricky being back to being in front of the camera, because I've always got one eye over there, kind of thinking of what they are doing, and how the shot is being composed. I think it takes a couple of films to just get back to just being an actor.
The most I've ever done was twenty-something, but that's wasn't because I wanted to. I feel like to me it's usually somewhere between two and- no, it's very hard to say because it really depends up on the shot, you know? If it's a complicated master shot and you know that this is the only thing that you're doing for that scene, a complicated one-er, you're going to maybe end up doing a few more takes than you normally would. But I'm not a big believer in doing tons and tons and tons of takes.
Allure is a word very few people use nowadays, but it's something that exists. Allure holds you, doesn't it? Whether it's a gaze or a glance in the street or a face in the crowd or someone sitting opposite you at lunch... you are held
I know that I present very - they say that I present very, very calm and very, very smart, very articulate, elegant. Yeah. And I go, 'Brilliant teams of makeup and wardrobe happened to dress me and clothe me and put my face on and do my hair. And then these brilliant teams of writers give me words to speak. I just need to make sure that I have them all in this combination in my body, in my being, and then I get to do it on camera, in front of a brilliant team of camera workers who really know how to like me and make me sound good.' So I'm just really a dork in real life.
I've been acting since I was 2 and have always been on camera but doing a video is different because when you're acting, you pretend the camera's not there and you just do the scene and with a music video you're right in the camera so it feels weird sometimes.
I'm interested in directing, but it's a real headache. Directing can be a real pain in the ass, because you not only have to worry about yourself, but all these other people coming to you with their problems. I like just worrying about myself.
The weird thing is, if I'd made 'The Incredibles,' shot-for-shot - exactly the same script, same timing, same shots - in live action, it would be perceived very differently, and somehow more adult than me doing it in animation. I find that fascinating and frustrating.
We were using a hand-held camera to film the scene when Morse collapses. The camera wouldn't start. Three times they said action and it still wouldn't work. To this day, they still don't know what was wrong.
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