A Quote by Vilmos Zsigmond
I shot a lot of commercials and sometimes I enjoy the commercial shooting and sometimes I really hate it, but in thirty seconds or one minute, you can make some remarkable work shooting in one or two or three days.
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Sometimes a director is making three films. Perhaps he is shooting a film in Madras and a film in Bombay and he can't leave Madras as some shooting has to be done, so he directs by telephone. The shooting takes place. On schedule.
Unfortunately, the public might not know that we get a script usually two days before shooting. So sometimes I'm shooting an episode and don't even know how it's going to end because I haven't read that yet.
After three days of shooting with Donald [ Sutherland], I was the only one he worked with for the first three days of the movie [The Winter Of Our Discontent] because of the crazy schedule. We [shot] a lot of this stuff, some of it incredibly intense and emotional. We had never had a conversation during that whole time. We didn't have time.
The Bush campaign for re-election has officially begun. They're actually running television commercials. Have you seen any of the television commercials? In one of the commercials, you see George Bush for thirty seconds. In another commercial, you get to see George Bush for sixty seconds - kind of like his stint in the National Guard.
The ideal time for writing a [television] script is four days, though sometimes it has to be two or three days depending on the deadline. If it's two days, sometimes there are things I see that don't work as well. If I have two weeks, the scripts get kind of flabby and lack the adrenaline that a sense of deadline fills you with.
The job is exactly the same, it just goes on for longer on TV. Most feature films are 35-40 shooting days. This has 10 parts, with different directors for each block. We shoot with two, sometimes three cameras.
I speak a little Portuguese, but my daughter speaks it better than me. I always feel that Italy is my home, but it is important for my husband that we also live in France. Sometimes we live as a family all together, but as we are two working actors, sometimes we have to be apart. Sometimes I'm shooting a movie; sometimes he is.
One of the simplest ways to get an idea of one trillion dollars is to consider the amount in terms of the passage of time. One million seconds is equal to roughly eleven days and twelve hours, and one billion seconds is thirty-two years. One trillion seconds equals thirty-two thousand years.
There are some filmmakers like the Coen brothers that are very precise. They make shooting boards, they do it shot by shot, and they follow every single line in their own script. They make amazing movies, and I admire them so much, but I can't do that. I have no idea how the movie will exactly be. While shooting, I just try to create an accident that I don't control very well - grabbing things from different sources and ideas, and then having a sensation somewhere that it will make sense.
As a young filmmaker, I shot a lot of stuff because I wanted to make sure that I got everything, but now I've gotten much more precise with my shooting. Editing is a whole other layer because then, sometimes you realize characters don't even need to say this or that. It becomes an issue of exposition, and over-explaining something. In the script, I'd reinforce certain things about what I wanted people to know two or three times, but in the editing room, I'd be like, "I only need to say this once, maybe twice."
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.
Nothing prepares you for shooting in the sea. Some days the sea is choppy, some days the waves are long. When there is no wind, it's fantastic to shoot, but your brain is burning because of the heat. You are shooting hand-held and taking a crane on a boat, which is risky since you can get toppled over.
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!"
I was at a Madonna show many, many years ago and I was in the sweet spot and she came out and I mean it was the best part of the show. And I was shooting, shooting, shooting, shooting. And I'm like, "God, I must have shot a hundred pictures have I not run out of film?" And I opened the back of my camera and there was no film in there. So that happened to me only once.
Bette Midler is this sort of laser-precise whirlwind. We only worked together for two days, but her precision, before even shooting, was remarkable.
I like alternating commercials with movies, because it keeps the pace up. You can't slack on a commercial. You need to go fast. That's a terrific piece of action, I think if that was scheduled for a movie, you'd put that in for two or three days worth of work.
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