A Quote by William Monahan
I shoot very little film. If you just do coverage you're shooting any number of potential films instead of just one, and I was shooting just one specific film. Film is cheap but time is expensive.
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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.
I hate to write and spend months just waiting for the film to get financed. Then when you start preparing the film and you shoot it, you've already forgotten why you wanted to make the film in the first place. I like to have some kind of coherent energy that takes you through writing, preparing, shooting.
If you are using a digital camera specifically for that reason you have in mind from the beginning, then yeah, it'll work. But like if you're just shooting a normal film and just kind of just shooting extra stuff because you can because you've got the memory space, it's a bit pointless.
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.
I have very strong relationships with my actors when I'm shooting. When you love an actor's work, you always feel you have to go further, and you make several films together. One film just gives you time to get acquainted.
If you make a film, that magic is not there, because you were there while shooting it. After writing a film and shooting it and being in the editing room every day, you can never see it clearly. I think other people's perception of your film is more valid than your own, because they have that ability to see it for the first time.
I still shoot film. I like what film does, how it renders things, Also, when I'm shooting from the air, I want to have as large a negative as I can.
The shooting of 'Nadunisai Naigal' started at 7 in the evening and ended by 4 in the morning. Physically too, it was a very demanding film as I have a lot of action scenes. I had to run, roll in the mud and was chased by dogs. It was not an easy film to shoot.
I became passionate about nature filmmaking when I graduated from UCLA, and one of the things I always wanted to do was shoot really high quality film, so I got into time-lapse photography - so that means when you shoot a flower, you're shooting, like, one frame every twenty minutes, so that's basically two seconds of a film per day.
The content dictates the style all the time. That's the way it is. If the content of the film - as in Husbands and Wives - is highly jagged, neurotic, fast-paced, nervous New York film, it just called for that kind of shooting, editing and performance.
If you wait until the right time to have a child you'll die childless, and I think film making is very much the same thing. You just have to take the plunge and just start shooting something even if it's bad.
One of the advantages of shooting digitally was that we had a lot of time. When you shoot, even if you do a good performance, it may get lost in the editing room. It's just one more way that a potentially good film might go astray.
My original goal was just to do stand-up but then I became interested in films - writing a film, shooting one someday, and getting to act in them.
Normally my process is to sit in a room and read a script and talk about it and ask questions and just create a dialogue. That goes all the way through shooting. All kinds of thoughts and ideas can find their way in there. As long as you're all on - We're just all trying to tell the story so my job as a director is just to find out what this film wants to be based on, it's just words on a page at some point but then it just needs to go to some level of believable storytelling. I'm discovering the film as I make it, to some degree.
I loved American filmmakers when I was growing up. I didn't get to film school or anything. I was a very bad student. I just devoured film, but there was a point in my teens when I started to run a little film society.
Though I am born into a film family, I hardly had much exposure to shooting during my growing
years. My first film actually taught me about the breakdown of shots in a film. My aim is to do three
memorable roles in the next five years; films I can be really proud of. And I want to work with the best.
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