A Quote by Winona Ryder
On the set for 'Beetlejuice,' it was before people would go watch on monitors, and directors would be next to the camera.
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I used to juggle from one set to the next. I would start at 5 A. M. in the morning and would sometimes finish only at 5 A. M. the next day. I would then go home, take a bath and set out again. There would be no sleep at all.
I really loved the 'Sopranos' but didn't have HBO. So someone would send me tapes of the show with three or four episodes. I would watch one episode and go: 'Oh my God, I've got to watch one more.' I'd watch the whole tape and champ at the bit for the next one.
In the old days, before there was such a thing as film schools, directors learned the camera by watching other directors, and learning from their own dailies, and listening to the cameraman, and seeing what would work. Some of those guys could cut their movies in their head.
At my high school, it was the first time they had TV monitors up, and before class would start, they would have CMT and the music videos playing.
Somehow I got to be one of five or six actors that the directors would use as guinea pigs at this directing colloquium, where people pay to listen to and watch the directors direct.
There is always pressure in any movie set. If you think about it, there is something that you memorize and it is almost like public speaking every day, all day. There is a crew of people, there are monitors and if you mess up, you have to do it until you get it right and then sometimes, you would go blank.
You get some directors, and I can never understand it - there's a thing they call the 'video village' where all the monitors are, and you've probably seen it on set visits - I hate that! I never, ever like sitting in video village. I get either my own monitor or a hand held monitor, and I stand right by the camera.
I always loved music and would listen to the radio and watch out for new stuff. When I was about nine or ten, I would go around to me friend's house on a Sunday when the top twenty was broadcast on the radio at 6 P.M., and we would tape it on a cassette, and then we would take turns in sharing it over the next week.
I would like to design a really cool watch. I've done a little bit of watches in the past, but I didn't have a lot of freedom because it was already sort of set in stone, everything around the watch. So I think a watch in the future would definitely be in the cards.
I've always had two principles throughout all my life in motion-pictures: never do before the camera what you would not do at home and never do at home what you would not do before the camera.
I love when I go on set every day, because the camera people teach me camera terms and grip terms - I learn all these new terms from different people on the set and leave feeling all cool about myself when I go out places.
I have three kids. Now they're all grown up, but when they were little, every time I would start a new project, they would say, 'So dad, are you making a movie we can watch or one we cannot watch?' That's the kind of stuff they would ask. People around me - family and friends - usually know when to watch and when not to watch.
The two-piece ball I switched to spun too much. One shot would go the distance I thought it should, then the next one would fall short, and then the next one would go long.
Of course, you do not do any research: you have to go there and do your film. It's not that I would travel there before without a camera and spend half a year on one of those volcanoes and then come back with a camera. You have to have some sort of a clear mindset.
I don't think 'X Factor' would put someone in front of the camera on purpose if they were ill. I don't think that's something they would do. There's psychologists who test out all the contestants before they go on.
I would like to live to 120, because conceptually, people can survive to 120. Every 20 years, it changes. So maybe, in the next 20 years people can go to space. I don’t know what the next revolution will be. I want to watch.
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