A Quote by Ken Curtis
The scenes in the show were filmed with a crew of really excellent stunt jumpers, but we had the feel of the parachutes, so we could be more realistic in the roles.
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My boy, that was a TV show. I used a stunt double. I always use a stunt double. Except in love scenes. I insist on doing those myself.
Man has been thrown into the world. It had always made him think of Icarus and those other great tumblers, Ixion, Phaeton, Tantalus - all these jumpers without parachutes from a world of gods and heroes.
When I was on 'The Golden Girls,' we'd have eight scenes per show. And when 'Seinfeld' came along, they went to, like, 30 scenes a show, which was revolutionary. 'Arrested Development' has probably got 60 scenes per show. It just keeps emerging as this more and more complex thing. I always try to keep it very simple at its heart.
Well I liked the mixture actually. It's really good fun to have throughout a shoot to move from something which is quite character based in certain scenes where there's very little action and you're just working with actors and I suppose I've had quite a lot of practice at that. This is more action than I've had a chance to do so that was fun for me too to go into the action then and have some really good crew working with me. And sometimes you get these scenes where they blend.
I can take an opinion, but I don't like when you try and spew hate and contaminate the way other people think. I feel like I'm one of the people that's always made music for the common man. That's why I don't really live my life the way I could. I don't stunt as much as I could stunt, 'cause that's not who my music is for.
I'll lie awake and think about scenes I could have done better, that I could have filmed in a different way.
I wanted to show that I could take on roles that were a bit softer and more caring.
I have a very close friend who is a brilliant clown, and I always wanted to do a show with him. So I did one year at La MaMa Theatre. I had not done stilts before that show, and I had about two weeks to learn how to do that, and they were just made with off-off Broadway money. The ones that I had in Rogue One were made by [Industrial Light & Magic]. So they were really easy. They were made with actual prosthetic feet on the bottom. They were athletic, in a way. I could run in them. There was a bounce to them that I could use.
There are more and more adult subjects with explicit language or explicit scenes... Yes, I feel there should be a category for such films so that instead of cutting it, censoring it or deleting a few scenes we can show it in its entirety.
I called Nic Pizzolatto and he said, "No, no. You're in it the whole way through." That was fun to shoot [in The Lobster]. I had a few scenes in that show that were some of my favorite all-time scenes to be in.
I couldn't roam wildly and speak secretly with villagers [in North Korea]. No way you could do that. And honestly, I didn't even try. I was realistic of what I could do and yet persuaded them into accepting numerous things that I shouldn't have filmed.
Exaggeration can lend action scenes more force, but I like to stick to more realistic figures: They help keep the cool in the action scenes, although they may be not as forceful as the exaggerated ones.
We were in production on a movie called All the Real Girls, which filmed in the Fall of 2001, and we really discovered who Danny McBride was, as an actor. When I say we, I mean me and a crew and a small audience that would hit the art house. He'd never acted before, and it was a really refreshing, eye-opening experience to watch him unleash, in front of the camera, all this comedic potential that we knew he had, as a human being and as the guy doing keg-stands at the party.
Especially today, Mollywood's action scenes comprise of many 'hero touches and the villain flies' scenes. I never promoted that, and only believed in realistic stunts, with just the right amount of cinematic feel seasoned on them.
I remember my first taste of American big movies was 'Ghost Rider.' I'm in two little scenes. But for those two little scenes they had 400 extras, upside-down stunt cars, and a fire brigade.
Sigourney Weaver is a wonderful person. I was so lucky to have the opportunity to meet and work with such an amazing actress. I believe that our chemistry was immediate from the moment we met, and continued to grow. She helped to make me feel comfortable during all the scenes that were filmed.
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