A Quote by Vijay Antony
On days when I wrap up my shooting by around 5 P. M., I binge on medu vada, bajji, bonda in streetside stalls on the way back home.
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We're actors at the end of the day. I don't take it home with me. My experience outside of work, I love... when I hear wrap, it's the most exciting part of my day. I'm the first to have my make-up off, in the car, out. I've gotta go home. I want to get back to my life. I love it back there.
If I spend 10 days at home, I'll be dying to get back to the set. I love the thrill of a good dialogue, the buzz of shooting.
I don't think the process of writing books is in any way sensible. It's not logical, and it's not reasonable. I do write very fast, and I just do it in a binge. Other people binge-drink; I binge-write.
I had a '69 Road Runner when I was a kid. I had it for 13 days, came home one day, and my parents were in the driveway. They said, 'Meet the new owner,' because they'd gotten phone calls about me burning rubber for the last 12 days. They thought I'd wrap it around a tree, and it was too much car for a 16 year old.
In features, we're languid: we shoot one or two scenes over, like, three days. In TV, the pace is so different. You're shooting ten scenes a day, going way into the future or way back into the past. It's complete madness, and I'm just trying to keep up with this really electric pace.
One of those out-of-the-ordinary days that made sense of the slew of ordinary days. New York had a way of doing that. Every now and then the city shook its soul out. It assailed you with an image, or a day, or a crime, or a terror, or a beauty so difficult to wrap your mind around that you had to shake your head in disbelief.
There are sad moments - lonely moments - when you're sitting up in your room all by yourself, shooting on location in Atlanta or Vancouver or L.A., and your family's back home. You can miss home.
I remember when we used to come to Delhi, my cousins and I would binge on possibly everything that we craved for back home.
Shooting at Quentin Tarantino movie was like a masterclass in directing. Although I went back literally right into rehearsal, started shooting... while I was doing it I had to write my Grindhouse trailer and I added two days of shooting. My brother was producing Hostel and the Grindhouse trailer and I was like: "Gabe, just figure this out!"
Once I finished writing the script, I couldn't find my Pandi. It was actually little difficult to cast for the role. One fine day, when I was shooting for 'Vada Chennai', Raj Kiran's name just popped into my head.
I love playing Jim. I love working with this cast and the opportunity to come back and work with them again was just way too appealing for me. Also, I think this is a great way to wrap up the franchise.
It's a different rhythm than most movies. For a lot of the actors, you're 12,000 miles away from home. It becomes a way of life - getting up at five in the morning, shooting every day, day in day out, for 270 days. The new cast playing the dwarves were carrying incredibly heavy weights in their suits, they sat through hours of make-up every day. So it's quite challenging from a stamina point of view.
If you are faced with a mountain, you have several options. You can climb it and cross to the other side. You can go around it. You can dig under it. You can fly over it. You can blow it up. You can ignore it and pretend it’s not there. You can turn around and go back the way you came. Or you can stay on the mountain and make it your home.
When I was on the swim team as a kid, I used to hide out from my coach by going into the bathroom and hiding out in one of the stalls. And I would literally wrap myself in toilet paper so as not to get hypothermia.
It becomes a lot better for the actors when we're 'shooting, shooting, shooting,' instead of waiting around in a trailer for something to happen.
I have a husband and two kids, and they're usually around when I'm shooting, then I go home. We have dinner, and that's what I'm dealing with when I go home.
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