A Quote by Jose Padilha
You're looking for the best way of shooting it, but sometimes the best way of shooting it is changing the script.
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The experience of shooting a film is about the script, the captain of the ship who is the director, and the way they push their actors and teams to give their best. It's not about the language and the region.
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.
I can easily say "no" to a project if the script isn't great, but when the script is good, then I start asking the other questions. Who's going to direct it? Who's the creator? Who are the actors? When are we shooting? Where is it shooting? All that kind of stuff.
Unfortunately, the public might not know that we get a script usually two days before shooting. So sometimes I'm shooting an episode and don't even know how it's going to end because I haven't read that yet.
I think some people get just locked into 'this is the way it has to be,' and they're afraid of messing something up. I don't ever want to be that way with shooting or with anything, really - not just shooting.
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.
In my first film, we always tried to have a script and work in a normal way, but I was constantly changing things during shooting. Because I worked as a scriptwriter for 10 years, I understood that directors always wanted to change what was originally written, to improve on it.
Just learn the whole script before you start shooting. That makes shooting a joy. Even if they rewrite, it's easy.
Sometimes a director is making three films. Perhaps he is shooting a film in Madras and a film in Bombay and he can't leave Madras as some shooting has to be done, so he directs by telephone. The shooting takes place. On schedule.
I'd been working on more traditional movie sets and TV shows at Universal. All of a sudden, here we're on location in Animal House, and it's down and dirty and quick. It was the way the new commercial world was shooting; the way the indie world was shooting. These were lighter, faster cameras. It was a generational change.
You can really shoot things you think might work on camera one way, then you can try it that way, and then if you think it could also work another way, you have that luxury of shooting a bunch of different steps, and then they can decide in editing what works the best.
I shot a lot of commercials and sometimes I enjoy the commercial shooting and sometimes I really hate it, but in thirty seconds or one minute, you can make some remarkable work shooting in one or two or three days.
It becomes a lot better for the actors when we're 'shooting, shooting, shooting,' instead of waiting around in a trailer for something to happen.
While shooting in Patiala, I never felt as if I was shooting here for first time, such was the love I got from the locals and Punjabi actors shooting with me.
With indies, all they have is their script and it's very important to them. The characters are better drawn, the stories more precise and the experience greater than with studio films where sometimes they fill in the script as they're shooting.
I don't think fast enough on my feet in terms of the writing to change the script too much when I'm shooting it. I like to have it set and done and know that I feel good about it and I might add a few lines here and there while we're shooting, if I think of a new joke, I might toss it in, but for the most part, I try to stick to the written script and have all the latitude exist within that.
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