A Quote by Quentin Dupieux
When I'm on the set, I take five minutes to find the best angle for a scene, and then we just shoot it and it looks exactly what you see on screen because I don't touch it afterwards. I never think about it, before being on the set. That's my thing. I love to be stuck.
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I'm such a believer in going to set, even when you're not work because I think the best things to be learned, you don't necessarily get from your own scene or from someone speaking to you and telling you advice. I think it's all about watching and just taking it all in. It's not even when the cameras are rolling, necessarily. You can see how they interact with the rest of the crew, and how they deal with being a character and then being themselves.
There should always be that leeway because if you think of your character as sort of absolutely fixed, then you just try and find actors to come and do exactly that thing, then you're not gonna be working with that actor's own set of internal impulses and who they are, so the best work is always a coming together of the actor and the character.
'Paranormal Activity' had fifty versions because it was $250 to reshoot. We'd screen it, see one thing wrong, shoot for an hour, fix it, and then screen it again. You don't have to be disciplined about it. On a regular movie, you have to screen it and think of every problem, reshoot for three days and solve every problem, and then you're done.
The reason that I'm here is that Patrick and I are partners and when crazy stuff comes our way we'll sit down and brainstorm and think around it just like we do when we're thinking about a scene. So, while the masters might not understand my being here, or at least they didn't at first, but they do now because we really are a partnership. If he's on set I'm on set.
I don't ever want to do a movie where you shoot it on a motion capture stage. I just don't like taking the reality out of it. I like being on the set in real environments. I don't like shooting on green screen. I think it gives the actors so much more to play with when there's real stuff happening on the set.
Richard Branson is probably the most visible of the private commercial space guys, and what is venture, Virgin Galactic is about is sub orbital flight. That is, you'll see a spacecraft that looks more or less like an airplane and it will fly into space, but only spend about 15 minutes. It'll go up in a parabolic arc and then fall back down, and so the customers on that flight will only get about five minutes of weightlessness. They'll get to glimpse the horizon of the Earth, take a look at it before just before they start coming back down into the atmosphere.
I certainly don't feel like I am desperate to run away from a film set. I love the hustle and bustle. Everything is sort of mad right before a take, and then it just settles, and you've got these two minutes of a bit of magic. I just love that in film.
It was such an amazing feeling to be on that movie set. And for the first scene I ever did in any movie, I improvised for about 10 minutes, and then there's applause by the crew, you know what I mean? I haven't had that before or since. It was just such an amazing moment.
When you first start out don't set yourself a lofty goal of sitting down to meditate for twenty minutes. Aim instead for ten minutes or even five minutes - utilizing those few moments when you find yourself willing or even desiring just to take a break from the daily grind to observe your mind rather than drifting off into daydreams.
I'm at the point in my career now, where I can take a bit of time to find exactly what roles are that I want to do and not work myself into a corner. I love acting and I love who I'm becoming, as I evolve as a human being. My work is an important part of me, which may or may not be healthy, so I need to do things that I love. I want to tell interesting stories, discover things about myself, and other people. The only way to do that is to not take jobs that feel repetitive or boring to me because then you're stuck doing that job instead of finding the thing that speaks to you.
I love the entire process of being on the set and being able to create a character. It's so much fun. In 'Think Like a Man,' I have a very small part. They told me it wasn't a big budget, but I don't care about any of that. I'll do it for free simply because I love being on the set with other creative people.
Take five minutes to centre yourself in the morning...set your intention every day...if you don't have five minutes, you don't deserve to have the life of your dreams.
If there's one thing Nawaz sir taught me, it's how to just relax. He's not your method actor who will ask not to be disturbed on set if there's a serious scene to shoot. He just comes and does his thing.
You can be moved by a performance on set, but when you see it on screen, it does nothing. Yet there will be someone you simply didn't notice on set that on screen: bam!
People have different goals, when you start out making a movie. If the goal is darkness and destruction and despair, it's not like, "Hey, let's go to set, and then let's hit the bar afterwards. Let's jaunt into London and pick up some Chinese food." No, you go home from set and you go fight at the gym, and then you go to sleep. You stay in it. You never excuse yourself, you never take it easy on yourself, you never eat good food.
I think one of the things you have to be aware of as an actor is that if you come on the set and see the director standing there mouthing all the words while a scene is going on, that's usually a very bad sign because it means the director has already shot the scene in his head. He knows exactly the rhythm and the nuances that he wants delivered in the line and you're not going to dissuade him.
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