A Quote by John Welch
We'll run a lot of multiple sets - pro set, twin set, the box set, ... We'll run a lot of option plays and pass the ball more than in the past.
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One thing that is very different technically is that you don't get a lot of coverage in television. Not like you do on a film. I know we don't have time for separate set-ups, so I will design a scene where I'm hiding multiple cameras within that set-up. That way, if I don't have time to do five set-ups, I can do four cameras in one set-up. It's a different kind of approach for that. For the most part, a lot of television, in a visual sense, lacks time for the atmosphere and putting you in a place.
You see a lot of European influence coming in with bigger guys having a larger skill set, shoot the ball, handle the ball, pass the ball. I'm hoping that'll develop into something I can do.
I visited the set [of Allied] a few times, and it was a great set to visit. A lot of it was in West London, in an old Gillette factory. You'd go into the factory through the security, and then there were a lot of camels and goats. Most sets are really dull, but this was fantastic.
I never plan to run at a certain pace. All my career my motto has been 'no limits.' I don't try to run with a set time in mind, sticking to set splits, because what happens if you're ahead of your splits - are you going to slow down?
I think you keep two sets of books. In one set, you record the truth -- how well you are really doing. This is the secret set -- just for you and loved ones. In the other set are more modest entries and statements, and these are for public consumption!
Being on a Michael Bay set is... well, it's the only set I've ever been on. But I would imagine there's no set that's run quite like it. It's big, it's loud, it's powerful, it's intense, it's dirty, it's hot, it's sweaty - and it's really exciting. There's never a dull moment; there's never a quiet moment.
The best passing drill is pass - set - hit. The best setting drill is pass - set - hit. The best hitting drill is pass - set - hit... Anything less than a game situation, unless very well planned, has the possibility of introducing artificial situations, and complete transfer to the game might not occur when drills are constructed in this manner.
I really do try hard to be a good teammate. I can't run very fast, but I try to always run hard. I may strike out a lot, but I try to walk to set up the guys who are hitting after me.
On the set, I visit the set for a lot of the rehearsals, and there's always a writer on set. And then I'm involved in post-production, very intensely involved in editing, and the sound mix and color timing. Really, I have about nine jobs.
There's a lot of things that I've done to stick into the box set. You never have it this good. I think people should bargain. They shouldn't just buy the set, it's a little expensive [anyway]. But they should say - I'll give them dialogue, I'm a good writer.
Generally I try to be on set as much as possible, especially during the early part of a season. I read all of the outlines and scripts and look at the auditions and the cuts for my other shows and give notes on all of that. There's a lot to do, but I enjoy nothing more than being on set because that's where the magic happens.
It was difficult after losing the first two sets and in the third set I was a break down, but something happened and I tried to run and keep fighting and I kept swinging in the third, fourth and fifth sets.
When I'm on the set, I'll come up with ideas if I'm sort of just between responsibilities, because there's a lot of sitting around on set. Invariably, though, the stuff I come up with on the set tends to be bad.
You can always think of something like the Xbox 360 as a super set-top box that can do everything the set-top box does, but then have the graphics to do the games as well.
To unwind after training, I love to have a long hot soak in the bath, then veg out on the sofa with a box set. I'm a box-set junkie! I absolutely love 'Grey's Anatomy.'
Interestingly, I'm more closed on set than I am off set. On set, I'm closed. I don't want input. I want to concentrate on what I'm doing with this other person. But outside of that, I'm open. I'm everybody's friend, unless they don't like me.
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