A Quote by Himesh Patel
I went to America for the first time with my mum when I was 7, and I loved it. I remember wanting to see the Hollywood sign, and then, there I was, shooting a scene right by it for 'Yesterday.'
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Sometimes, if you're shooting a complicated scene, you have to stay in a position and wait for the technician to do his job, and then you have to be where you're supposed to be, right on the spot. You don't rehearse all that much on films. If I think of the amount of time I spend on set compared with the time spent shooting, it's ridiculously short.
One of the things that I first remember wanting to be was a 'geolisty' - that was the best I could say when I was a kid. That was right after I stopped wanting to be a fireman or a truck driver. Because my dad is a paleontologist who worked with the Smithsonian, I got to see the bones up close and the exhibits behind the scenes there.
Even now, we're surprised by the reach of my mum, so you can imagine our surprise at the interest in my daughter. We got calls from Hollywood companies wanting to do a reality show with her and we thought, 'About what? We're not a Hollywood family.'
The Ramones were a great bunch of guys. They were very quiet, very shy. They were a little in awe of the filmmaking process, probably because we started at 7 a.m. I do remember the very first day of shooting, I met them and did the scene in the bedroom where Joey sings to me, and they were all scattered around my bedroom in my little fantasy scene. That was the first scene we shot of the movie. That scene is kind of a strange way to start a movie. "Okay, get undressed, and these weird guys in leather jackets and ripped jeans are going to sing to you."
My mum loved Joan Armatrading and used to play her records all the time and even took me to see her a couple of times when I was really quite young. I didn't really like her music back then because my mum was always playing it, but I've grown to appreciate it more.
When I was in Vietnam with Jane Fonda, I was shooting a farmer in a field - just a pastoral scene. And while I was shooting him, an explosion occurred right - he blew up right in my lens, so to speak. And he had stepped on a landmine.
I learn my lines in a few different ways. A lot of my dialogue sticks with me in a general sort of way when I read the entire script for the first or second time. Then, when I get the shooting schedule, I have a better idea of what scenes are shooting when. I then will focus on those that are coming up first.
When you shoot a scene, you remember every moment. You remember when your head went down, your head went up. You don't see little quirks, little eye movements, little lip movements. Once again, you become completely vain when you're watching it in a way that you weren't when you were shooting it. And the vanity, what it makes you focus on are everything that has nothing to do with the scene and everything to do with your own ego.
It's funny landing parts now where I'm somebody's mum. I remember the first time I was asked to play a mum. I was easily old enough, but because I didn't have any children, I thought, 'That seems really grown-up.'
No 'mise en scène' has the right to be repeated, just as no two personalities are ever the same. As soon as a 'mise en scène' turns into a sign, a cliché, a concept however original it may be, then the whole thing - characters, situation, psychology - become schematic and false.
I love doing movies, but right now, television is the way Hollywood was in the late '60s and early '70s. The dream era I would have loved to have been part of in Hollywood then is happening right now, but it's happening on television, with these big complicated story arcs and real character-driven shows and sheer ambiguity left and right.
You do need to edit yourself as you shoot because you have fewer options in a smaller movie. In other words, when I'm shooting a big movie, and I got an 85 day shooting schedule or more, then I'm saying I have enough time to shoot option A and B and C and D for every scene.
You can't put the Hollywood sign in a movie without paying them. That is a landmark in L.A. I'm sorry, remove it from our skyline, then. You know? How dare they. That should be public domain, right? But it's privately owned, and they enforce that. They sue people. If you see it in the movie, they've paid for that.
I actually went to see 'Rushmore,' and I came late, and I missed myself. It was great, that scene. I caught that scene the other day on TV, funny enough, the first scene that you see with Jason Schwartzman and myself, where we talk about his grades. That's a brilliant scene, and I have to say, we play it brilliantly.
I remember having to take detours around the Hollywood sign to avoid having to see this grotesque poster of myself on Sunset Boulevard.
I remember wanting a Scotty Cameron Circle T putter really badly. I remember the first time I went to the Studio and I got to pick one out and have it customized. That was pretty cool.
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