A Quote by Jay Duplass
We don't work in the traditional TV format where we're like writing concurrently to shooting. Like, we really view it as a large feature film.
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Going from a short to a feature is like going from crawling to flying. It's a big jump, really. Everything triples - size of crew, budget, shooting days, the cast. Not to mention the stakes - as a first time feature filmmaker so much rides on this film.
Remember: TV is a format, film is a format, and books are a format.
When you're writing for a game - even if you're using very well known characters like Batman and his villains who lend themselves to many different interpretations - you have to keep in mind that you're writing for a different medium. Things are a bit more straightforward than it is for a feature film or a TV show.
I'm really getting into acting and TV. 'Sports Illustrated' is a big, iconic brand I'd like to work for, too. But TV and acting is really funny and a bit more exciting than shooting all the time.
I never like to stick to one media; whether it's a TV series or feature film, I enjoy it and I like changing constantly.
I still shoot film. I like what film does, how it renders things, Also, when I'm shooting from the air, I want to have as large a negative as I can.
The nuts and bolts of shooting a film and writing a film are still really difficult. But what makes it easier is the fact that you know you're going to go to work with your best mate.
'This is Spinal Tap' was a film we felt really had to be done like that. It wouldn't have worked any other way. And it turned out to be the first time a fiction film had really been made in a documentary format. I continued to do that, obviously, because it's a fun way to work.
I started off writing TV adverts. I saw those as rehearsals for a feature film.
By the way, today with digital cameras and editing on your laptop, and things like that, you can make a feature film, a narrative feature film easily for $10,000.
All in all, I'd like to venture into film. Films are my staple diet, so I would love to be part of a feature film, independent film... it all just depends on the story and the people behind it, really.
I remember when it was reported that I was going to do the film in this format, people were actually speculating, and I guess I understand it. They were like, "Yeah, okay, that all sounds really great, but why would he do it for a thing that's so set bound?" That's not very profound thinking when it comes to 65mm. It's not just for shooting travelogues, mountain scenery and nature.
Little projects - not feature - film projects - you know, theater things, writing things, and jobs like doing rewriting for money, stuff like that. I don't recommend it. It's not a schedule that I'd want, although it was really good for me in a lot of ways. I became a better writer.
There are two worldviews in thriller writing: the paranoid view, like Chuck Logan's, that everything is inside a large clockwork. I like those books; they're intricate and thought out, but my view is that everything is chaotic and stupid. Chaos reigns, and civilized people do what they can to hold it back.
I was at a Madonna show many, many years ago and I was in the sweet spot and she came out and I mean it was the best part of the show. And I was shooting, shooting, shooting, shooting. And I'm like, "God, I must have shot a hundred pictures have I not run out of film?" And I opened the back of my camera and there was no film in there. So that happened to me only once.
There's not much of a difference shooting something for TV and shooting something for film; the difference is film is in a cinema and TV is in your home.
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