A Quote by Naveen Andrews
You can do things with TV that you just can't do on film. There's so much more time: there's the opportunity for development, and you can let things lay dormant for a period. You can't really do that in two hours or three hours in a movie that often, I would say.
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TV is an extraordinary medium. You can do things with TV that you just can't do on film. There's so much more time, there's the opportunity for development, and you can let things lay dormant for a period. You can't really do that in two hours or three hours in a movie, that often, I would say.
What's neat about TV is you get really rich, an opportunity to tell really rich stories over the course of 20 hours. Film is cool because it's an hour and a half to two hours. You go on an adventure and by the end it's all cleaned up. Maybe in a franchise you have three chapters of a great story but in TV you can really get deep. You have more time to tell stories so I would definitely not rule out doing television in the future because I think it's a great medium for telling stories.
The other main difference between film and television is that you have the opportunity to flush out a character, over a longer period of time. Whereas with a film, you're confined to two or three hours, or whatever it may be.
After making a movie, maybe you weren't able to shoot many of your ideas, because a movie is only 1 1/2 or two hours long, but TV gives you space to film a lot of things.
You have an hour and a half or two hours - maybe two and a half hours - in a movie, and it has to be a self-contained three-act structure. It's like a rock and roll song. Certain things have to happen for it to be a toe-tapper and get people excited, leaving the theater.
I used to say, as an assistant, I would go in and close my door for three hours after practice and just watch film. Now it seems like I'm in a meeting and then another and then another for three hours that have nothing to do with basketball. It's just different.
This is not a documentary. Are there essential truths that are captured by this movie? I think unquestionably the answer is yes. Do you have to change certain things to make it work? The book is called '13 Hours'; the movie is two hours long.
After film school, I would write 8 hours a day on film and 8 hours a night on TV, and then sleep once and a while.
That movie [A Series of Unfortunate Events] told four books in two hours, and we have two hours per book. So we have eight hours to tell four books, and if people watch we'll get to tell more of them. There's only thirteen books, so there's only going to be two more seasons, but that allows for a lot of time to be in character and to maintain character.
One of the challenges assembling the film was that gun fight went on for three and a half hours and we obviously couldn't spend three and a half hours of the film with one gun fight. It was trying to figure out the balance of how much an audience could take before they either became repulsed or desensitized or bored or just overwhelmed.
Our grandparents' generation prefers to watch film on TV rather than going to the theatre because of the simple reason that they are really old. Watching a film for, say, two hours at a stretch is difficult for them.
I’m going to kill myself. I should go to Paris and jump off the Eiffel Tower. I’ll be dead. you know, in fact, if I get the Concorde, I could be dead three hours earlier, which would be perfect. Or wait a minute. It -- with the time change, I could be alive for six hours in New York but dead three hours in Paris. I could get things done, and I could also be dead.
Theatre is organic, film is not. Theatre you come every day and you work with a group of people and you're are all up for it and you all get to do the whole thing every night, be it two hours or three hours. In film you work in two or three minute bits and it's never in chronological order and then someone takes that away and makes it look like it all happened, or that you gave that performance.
I don't have a problem doing interviews. It's not punishment. There's things about it that I don't like. No one else is really saying these kinds of things, so someone has to. I don't think that it's the most humbled thing to talk about yourself for hours and hours and hours.
I refuse to this day to do e-mail because everybody I know that does it, it takes another two or three hours a day. I don't want to give two or three more hours away.
The right kind of practice is not a matter of hours. Practice should represent the utmost concentration of brain. It is better to play with concentration for two hours than to practice eight without. I should say that four hours would be a good maximum practice time-I never ask more of my pupils-and that during each minute of the time the brain be as active as the fingers.
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