A Quote by John Curran
In my experience, not just in shooting films but in the commercials I've done, initially, it's very exciting for the community, and its a real novelty. Very quickly, though, they realize there's a buck to be had, and it becomes annoying, and they lose their patience pretty quick.
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For me, my lack of patience in real life - I have always had very little patience. It's been very much my downfall in life. But having a child puts it in perspective. Very quickly you're like, "Oh, I need to learn what patience is."
I do read very, very quickly. I do process data very quickly. And so I write very quickly. And it is embarrassing because there is a conception that the things that you do quickly are not done well. I think that's probably one of the reasons I don't like the idea of prolific.
I am going to be on 'True Blood.' It was really exciting. I had a great time shooting it. I spent the last nine months shooting this season and it was very secretive, very sexy, a lot of blood and fangs.
Most sound work in films is done very quickly, and at the end of the schedule where it's just jammed together and you always wish that you had more sympathy.
If you've been in the art world for more than eight years, you realize another generation is making the exact same work as the previous generation - but treating it like it's never been done before. It becomes very cyclical very quickly.
Drama schools are very small community, a very incestuous community, so you get to know one another very, very quickly and it just washes over after a while. Every now and then I'll say "dude" or I'll say "bro," and people will laugh.
The core of the film is usually something very emotional and something that feels really real that you can relate to, it's not like done in a false way. You know a lot of films will treat emotion falsely and you can sense that very quickly.
In my films that I've directed, and my work in commercials and videos, I've rarely used handheld. It's just not something I'm drawn to, but I've seen it done very well.
Really, initially what I very quickly realized that I was loving about the show was, because it reminded me of when I was a kid and I would visit the sets where my dad was shooting with the other puppeteers.
When filmmakers are kept from making films, there's a lot of different reasons why. Sometimes you work on a film and cast it and do all the work and can be just a month away from shooting, and all of a sudden, the whole thing goes up in smoke. But I do think the advent of a digital revolution is going to provide people with opportunities to make films that they never would have had before. I think you can do some pretty credible stuff now with very, very little money. Which I think is great for young filmmakers.
The experience of shooting 'Encounter' itself was very exciting and challenging.
Children are very quick observers; very quick in seeing through some kinds of hypocrisy, very quick in finding out what you really think and feel, very quick in adopting all your ways and opinions. You will often discover that, as the father is, so is the son.
I've directed bits of action and so I know that it's long and it's very detailed. Editing action is a good deal more exciting than shooting action. Shooting action is very, very meticulous, it's increments, tiny little pieces.
Each film is different. Time Code was very quick - a matter of months. Miss Julie has been on my shelf as a script for some seven or eight years. But then the shooting process was very quick - 16 days.
Shooting clay targets is a very cleansing experience. It's very relaxing. It takes a lot of concentration. It's also very social, since you're usually shooting with friends. You can talk and forget about almost anything else that's on your mind.
What's nice about a lot of Wes Anderson's films is that there's a patience to it. I think that patience brings out a lot more funny things that you would miss otherwise if you just had to make quick cuts and keep the pace, whatever that pace is that bigger budget comedies have to have.
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