A Quote by Zareen Khan

There are so many things going on in your head while shooting bold scenes. On screen it might look sensual, or hot and great. But when you're shooting for it, you need to take care of so many things.
I loved shooting 'iGo to Japan' because we got to be outside a lot, and our call times were really late because we had so many night scenes. It was pouring rain, so the cast would huddle together in between takes and drink hot chocolate. Shooting that episode was such a great bonding experience.
Scenes change while shooting. Nowadays, while you're shooting the movie, you're cutting at the same time.
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.
Whether it is my shooting or going to bed on time. There are so many things you can do to be consistent.
When I'm shooting a music video, when we're midway through the day, I need everyone to be quiet while we're getting ready for the next scenes. That's really important for me to be able to keep my head in the game.
Well, the whole trick to doing an independent film, is to keep great pace and momentum. You're shooting maybe three times as many scenes in one day that you would on a big, luxurious budget on a luxurious schedule, and you try not to sacrifice quality for that. Things are just compressed, but essentially the same.
Once we were in the studio, we realized we were getting certain effects through the shooting of the dramatic scenes on video, shooting off a screen and then getting wave patterns and stuff like that.
What's great is when you're shooting at the same hotel you're living in, you finish shooting, put your stuff down, take an elevator and go to bed.
Shooting on film is great because it imparts discipline: What do you need to see so you're not finding it in the camera. When I'm shooting, I have the scene in mind, where I'm going to have certain lines. I learned to overlap and to shoot more than I think I need. That was the learning curve.
It would be great to continue shooting on film. Amongst other things, the mystery of not knowing exactly how it's going to look until we see it later and having your DP and being able to trust in him that he's the holder of how this is going to look is a beautiful mystery of filmmaking I'm loathe to look up.
While shooting in Patiala, I never felt as if I was shooting here for first time, such was the love I got from the locals and Punjabi actors shooting with me.
As an actor, some of my favorite things to work on are night exterior scenes. Any time that we're on location and shooting at night, it's just magic. I got to do that so many times working on 'Vampire Diaries' that it filled my hat.
Somebody comes to your house. You know they're coming, so it's not a surprise. And they give you an envelope that has your scenes in it. And they sit in the car outside for a half an hour while you read your scenes, then they ring your doorbell and you give your scenes back. Then you shoot the movie a few weeks later or something. The next time you see your scenes is the night before you start shooting. I never read the script [Blue Jasmine], so I didn't really know what it was about.
If there's a cutaway, you need to get it then because it's only going to last [a few moments]. You have to edit the movie as you're shooting it in your head and communicate with your crew about how it's going to work. While making a movie, you have the luxury of storyboards and a script and a bigger crew and actors. I mean, it's so much easier.
I want to see given extra effort, pulling for your teammates: those are the kinds of things we're shooting for and we're going for because that's what we need.
Portland was such a great place to be while filming because there were a lot of things to do when we weren't shooting.
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