A Quote by Gavin MacLeod
I just love the hours of the theatre, I love the way it operates. I always say that when you're doing a play it's like getting a shot of B12, and when you do television for a long series you need a shot of B12.
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I started reading and learned that we don't need any of it - meat, dairy products. We get everything we need without those things - except maybe B12, but there's this whole controversy that maybe we're only getting B12 because the animals are being fed B12 supplements.
I remember when I was doing Mermaids [1990], I was 16 and they gave me a B12 shot once. My parents weren't there, and when they did come, they freaked out. They were terrified, because of the Judy Garland stories. I know it's just vitamin B, but it did give you a boost.
My Ph.D. thesis problem was to determine if the DNA content of rat tissues increased if there was B12 in the diet. This problem was suggested by my adviser based on the observation that thymine could replace vitamin B12 in a lactobacillus.
I love the rehearsal, as long as it's not over-rehearsed. I love it when the actors can rehearse until we feel really comfortable, and then the crew come in and shoot it. I'm not especially a big fan of rehearsing with the crew and the crew rehearsing and, "Let's rehearse this tracking dolly shot 25 times until it's just right." Television has to be shot a certain way to have a certain look. And sometimes the tried-and-true method is the best.
Concerning B12, 39% of Americans have a B12 deficiency yet only 1% of Americans are vegan. How can this be a vegan issue? And if nearly everyone in America is sick or has died from a disease, yet only 1% is vegan, how can sickness be a vegan problem?
Taking B12 is the price of getting to be vegan, the way wearing a helmet is the price of getting to ride a motorcycle and giving up alcohol for nine months is the price of getting to have a baby.
I come from a TV background, so for me this more like doing a freeing theatre piece because we'd go into a room and do the scene, instead of doing it as a wide shot, medium shot, and close up with only the odd line of dialogue.
When we shot the first series of Aerobic Striptease, we shot five DVD's, so we slowly put out each DVD and timed it out that they were all done and shot and ready to go. We just started shooting the next series once we felt it was time to work on the next one.
When you cut from a long shot to a close shot, you're doing it for a reason, or if you let something stay in long shot for a long take. On the short films, I was teaching myself how to express something personal cinematically, how to use the language of film the best I could.
In my view there is a level of human knowledge that involves just getting it right aptly. This "animal" epistemic level is an inferior level in just the way of Diana's long shot in the dark while drunk. That shot is inferior in a certain respect if too poorly selected as a hunter's archery shot, even if not quite as poorly selected as would be a shot aimed at the moon. Even if Diana's too risky shot turns out to be apt by attaining success through sublime archery dexterity, it is still inferior in the particular respect of being so risky and hence so poorly selected.
I make my living doing freelance directing for North American television shot in Toronto, series like Alfred Hitchcock Presents, Twilight Zone, and so forth.
Partly why I love to operate is that I love to watch an actor within a shot. When you watch a shot, and you know that everything's come together, I feel I'm the first person watching it. I always get pleasure out of that.
I enjoy that atmosphere, because you play golf all the time but you don't get to play in front of this many people and feel the energy of the crowd.You hit a bad shot, they boo; you hit a good shot, they cheer you. It's awesome. So I love it.
If you're playing a shot and your peripheral vision picks up a player moving as you play the shot, if your vision goes from the object ball to what they're doing, you can miss the shot by several inches.
I love it when television is shot in a cinematic way and I think to aspire to that is no bad thing.
If I'm ever working on a set and anyone talks about a master shot, I say there is no master shot. Before I even went to film school, I learned about movies by being in a British feature film, where everything was shot master shot, mid-shot, close-up. But I reject the idea of a master shot. You don't shoot everything mechanically; you find imaginative ways that serve the action.
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