A Quote by Kathleen Robertson
You have twenty-one days to shoot a whole movie and sometimes you go into that thinking ugh, this could potentially be really, really difficult and it turns out to be the most incredible experience.
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You have twenty-one days to shoot a whole movie and sometimes you go into that thinking 'ugh, this could potentially be really, really difficult' and it turns out to be the most incredible experience.
I love that you can shoot something on your phone, or shoot something on these small Cannon cameras, and edit it overnight and get it out there the next day and potentially go viral. And that's huge. It really takes the middle-man out. It allows anybody to become a content creator.
You do a film and you have hopes for it, and you read it, and you see it one way in your head, and you shoot it, and it'll always change from what you started out. Sometimes it turns out better, sometimes it turns out; I don't know, but as movies go I've never experienced seeing and likening what I've read, and I liked what I read.
I think 3D can be an incredible thing on a movie and a terrible thing for a movie, depending on what kind of movie it is. And I've seen movies where I thought the 3D really enhanced the experience, and sometimes where I thought it just detracted from it.
I learned a great lesson early on, even before I was really an actor, from that movie 'Planes, Trains & Automobiles' that John Hughes made: that you could make a movie that's really, really, really, really funny, and sometimes you can still achieve... making the audience feel very deep emotions as well.
I think it's really difficult to justify converting a film that wasn't shot in 3-D into 3-D. I really do believe, as does James Cameron and all the people who are actually pro-3-D, that you have to go out and shoot it that way. You have nothing but compromise if you don't.
After going through a really tight schedule and sharing some great moments with a team, the last day shoot always turns out to an emotional experience.
It depends on the way you shoot it. It's something I don't really control. The main goal is to make a funny movie, but then I let my mind go. I get lost sometimes in the writing, trying to find some special zones. That's the excitement of making a movie.
I used to drive myself crazy by thinking, three days later, 'Ugh, why didn't I play it like that? Ugh, now that line makes sense to me.'
When you go from movie to movie, it's like going from family to family. You work with people for really intense hours on really long days and a bond happens. So even when a movie is terrible, you love it.
I usually bring a point and shoot with me so I can go out on the weekends and shoot a bit. I used to bring more cameras, but I'm also an Ebay nut so sometimes I'll order something if I'm really pining for it when I'm on location.
I really do think you shoot for that beautiful experience of showing your movie in a crowd or room full of people, or even just one person who happens to go to a matinee screening.
Sometimes you get more creativity when you're in a box than when you can do anything. In really difficult situations, sometimes, you get the most interesting thinking.
For me, what I really want to come out of it is to show people that I can hold together a movie, be the number one character and play someone who is twenty or twenty-one.
If you do something really cognitively demanding, like buying furniture, it turns out buying furniture is one of the most difficult things we do. Go into a furniture store and look at a sofa.
Somebody pointed out to me that there's no horror film on my resume, which is true, but I also don't really go see those movies. Although when I was thinking about it, I was thinking "I would probably have a really nice beach house if I made a horror movie." They seem to be very popular. I just don't think it's my thing.
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