A Quote by Jessie Buckley
Filming a story set in a war zone in the '60s was such a treat, as it gave me so much scope to dive into.
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The first war zone was declared by Great Britain. She gave us and the world notice of it on the 4th day of November, 1914. The zone became effective Nov. 5, 1914.
That was an amazing time period [ CBGB filming] to transport to during filming - the clothes, the music, the lifestyle - it really helps to get into character when there's so much that changes from the moment you step onto the set.
I don't let [my friends] visit me filming and I don't bring them to premieres. It's a different head zone - when I'm on set, I'm working. When I'm just with my friends, I can just hang out, do normal stuff and generally be a complete idiot. It's the same with everyone.
We were filming the West Wing on the set one day in DC and Madeleine Albright comes by the set. I mean, when does that happen? You turn around and there's the former Secretary of State just sitting there. After the Clinton administration finished we were filming right outside the White House and John Podesta comes walking up while we're out there filming. Just strolling by the set - the former Chief of Staff! Things like that would happen all the time.
Being in Russia filming War & Peace...filming War & Peace alone is an extraordinary experience, but to be out there was just magical.
Breaking Bad' gave me a career. It gave me more work than I could possibly imagine - I started filming it when I was 14 years old, and I finished when I was turning 21.
I was in Siena and decided I wanted to write a story set there. Then I discovered that the original story of Romeo and Juliet was set in Siena. It occurred to me that this was too much of a gift - I had to do it. That's how I ended up writing a parallel story to Romeo and Juliet.
When I get a script and do my work, and then show up on set and work, it's the same zone that I'm in when I'm in front of a canvas, or when I'm writing a story about one of my paintings, or when I'm playing music. Whatever I'm doing at any given time, it's the same exact zone.
I'm a good little middle-class boy. I live in Gloucestershire or Kensington. I don't exist in the war zone, but it's certainly not far away. I grew up in an area where it is a war zone - south London.
If you've got a camera, go to a war zone and tell a story.
Seeing any war through the distortion of comedy is healthy. There is just too much absurdity and irony at play in a combat zone not to pay attention to it. At least that's how it struck me; others may have had an entirely different war experience.
For me, it's been a treat to interact with authors who were publishing when I was a young reader. Judy Blume once gave me a pep talk at a writing conference. I had a short story featured in the same anthology as Beverly Cleary. Magic.
I'm a child of the '60s, I came of age then. I went to a couple of demonstrations, and then in the late '60s when the Vietnam anti-war movement grew as the Vietnam War was heating up, I became very involved in that.
When I began writing poems, it was in the late 60s and early 70s when the literary and cultural atmosphere was very much affected by what was going on in the world, which was, in succession, the civil rights movement, the antiwar movement, and the women's movement in the 60s, 70s, and into the early 80s. And all of those things affected me and affected my thinking, particularly the Vietnam War.
'Kanche' is not primarily a war film: it is a lovely story set against a war backdrop.
From Matthew Brady and the Civil War through, say, Robert Capa in World War II to people like Malcolm Brown and Tim Page in Vietnam. There was, seems to me, a kind of war-is-hell photography where the photographer is actually filming from life.
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