A Quote by Peter Facinelli
Everyone had coverage. You might have like three lines, but there were 10 people, so they would cover each person. Three lines could take 12 or 15 hours, but it was fun because everybody was together. As hard as it was to shoot those scenes, I always enjoyed when we were all together.
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They were so much alike and they become best friends. It was a wonderful relationship. They respected each other, and they never put each other down. With every step they took together, they were happy. There was no envy or jealousy; there was no control, there was no possessiveness. Their relationship kept growing and growing. They loved to be together because when they were together, they had alot of fun. When they were not together, they missed each other.
Gareth [Edwards] was very much about including everyone in what we were making, so he would cut together different scenes to show us what we were making. And the crew, cast, everyone would go into a theater there at Pinewood Studios and watch 10 minutes of what we were making. It was always so exciting. It looked amazing, and the music was huge.
You may think it odd that there were three men to look after one tiny station, but the people who ran the railway knew that if you left two men together in a lonely place they would quarrel, but if you left three men, two of them could always grumble to each other about the third, and then they would be quite happy.
We were supposed to grow old together, Dolores. Have kids. Take walks under old trees. I wanted to watch the lines etch themselves into your flesh and know when each and every one of them appeared. Die together.
With the fight scenes, they would take a video camera and shoot alongside the camera so we would piece it together on the computer and had an extremely rough cut of what we were doing.
I was trying so hard. I would memorize the entire script, then I'd be lipping everybody's lines while they were talking. When I watch those episodes, it's disgusting. My performances were horrible.
If you take 12 waters from the coconut - not the ones you buy in the store, although that's good - but the fresh coconuts, the little brown ones with the three eyes, if you take 12 of those within 24 hours, your blood will go back to the way it was when you were born.
When I grew up in India, telephones were a rarity. In fact, they were so rare that elected members of Parliament had the right to allocate 15 telephone lines as a favor to those they deemed worthy. If you were lucky enough to be a wealthy businessman or an influential journalist, or a doctor or something, you might have a telephone.
I had left the music industry at the end of 2001, after 10 years, and had spent three years writing every single day - producing two unpublished novels, one abandoned novel, and three unproduced screenplays. The word 'no' and I were on more than nodding terms. The word 'no' and I were talking about going on holiday together.
It was fun and something I could do together with my wife and kids. We were all hand-washing bottles, cleaning and bottling together. It was like families that cook together - we just happened to brew together.
There were 10 to 12 years where I averaged two to three hours of sleep a night. There were times when I didn't go to sleep for two days, but I'd usually crash one Sunday a month for 16 to 18 straight hours, and then I'd be rejuvenated.
I read 'On The Road' in college. I was 18 or 19, and I had a particular quarter where I was taking biology, calculus, and physics. Those were my three classes. It wasn't a well-rounded schedule at all. It was hard, hard work, all the time - hours and hours and hours of homework.
I think I was technically uncredited as Local #1, because there were three of us. But I had the most lines [in My Sweet Charlie].
My mother became a casting director, and she cast me in a soap opera called 'One Life to Live.' I was, like, 8 years old, playing a kid who had hurt himself on a skateboard. I had, like, three lines. I did the lines, and everybody in the studio applauded - I was immediately hooked after that. I was like, 'This is the life for me.'
Looking good kept me out of trouble. When I worked for Michael Alig, everybody was overdoing partying. It would take me so long to get ready, because I was never one of those girls that were naturally the cover of Vogue. I had to really work hard to look nice. I would take hours and hours to get ready. If you have high heels on, if you're dressed nice, you really can't be drunk or sloppy because it's dangerous. It's part of being a lady, so it really kept me out of trouble.
I'm always interested in a claustrophobic situation where people might be powerless to do things. My first three novels were all about families. Things that happen in a house within a family, because you're a child or because you want to keep the family together, you suffer things you might not have had to suffer if you weren't in that situation.
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