A Quote by Dean Cain

I did this film for less money than it costs to stay in this hotel. We shot it in 20 days. We couldn't screw up takes for fun because we didn't have enough film. — © Dean Cain
I did this film for less money than it costs to stay in this hotel. We shot it in 20 days. We couldn't screw up takes for fun because we didn't have enough film.
We have a conservative government that only thinks in terms of efficiency. They are spending a lot of money on military expenses and less and less on culture. My position is that culture can actually be economically viable. When I make a film, the film costs $3 million. Now, in Quebec, it grossed $3.5 million, which is a small film. It's not a comedy. There are no stars in it. And, it still grosses $3.5 million. That's just in Quebec.
I shot 'Nuvvilla' for 56 days and stayed at Sitara Hotel in Ramoji Film City.
I'm planning some films in the U.K., and it will have pros and cons. It takes a lot more time to set up a film in the U.K., because you can't rely on much. In Greece, friends show up and bring what they can and you make the film. Well, that's a bit simpler than how it really is. But when you make a film with proper industries, it takes more time to synch all these things.
It's easier making a smaller film like El Mariachi. There are no budget worries because there is no budget. There is no crew problem because there is no crew. And if you screw up, no one is around to see you screw up -- so it's no longer a screw up.
'Podaa Podi' is a film that sees Simbu and Varalakshmi in three phases of life. Thus this film of course takes more time to wrap than usual flicks. The film is entirely being shot in London and we require to shoot it only during a particular season as the script demands it.
We shot 'Party Girl' on film, and I remember being told, 'We need to get this in two takes because we don't have a lot of film in the mag right now!'
Even before 'Moon,' I did a short film called 'Whistle,' and it had a lot of the things that I thought I would need to be able to do on a feature film: I shot on location, there was special FX work, there was stunt work, we used squibs, I shot on 35 mm film.
It's hard to make a film in Britain. It's hard to raise money. The best stuff that is shot on film in Britain is usually shot on film for television.
Filming movies and TV are vastly different. Film is more of slower pace. You usually have more time to develop characters, and it sometimes takes up to 3 months to film one movie. Sometimes you'll spend half the day filming one scene. TV moves much faster. It takes about 10 days to film an episode.
Maybe if I'd gone in younger, I wouldn't have had that feeling, but I've seen an enormous amount of changes since the early-'70s in how this stuff is shot. I did the first TV movie ever shot in 18 days; before this film the normal length of shooting a TV movie was between 21 and 26 days. We shot a full-up, two-hour TV movie in 18 days with Donald Sutherland playing the lead, who had never worked on television before.
I shot film with the Coen brothers on 'Hail, Caesar!' That's fine. I'm sentimental about film; I've shot film for forty years or something.
I did the Kannada film when just out of school. I didn't know anything about the South Indian film industry at that time, and I did the film to earn some pocket money. I realised then I like acting.
If I'm ever working on a set and anyone talks about a master shot, I say there is no master shot. Before I even went to film school, I learned about movies by being in a British feature film, where everything was shot master shot, mid-shot, close-up. But I reject the idea of a master shot. You don't shoot everything mechanically; you find imaginative ways that serve the action.
I'd never read 'Prince Caspian'. I watched it and loved that film. Everybody was talking about its lack of success; its relative success in comparison to the other film. It's a great film. It deserved to do a lot better than it did. It's very difficult to make a film that will match up to the first.
'Mayabazar' was the film I immensely loved as a kid. Only when I became a filmmaker about 20 years later did I realise its technical marvel and what a great epic it was. I and my visual effects supervisor, while making 'Yamadonga,' took two days to understand the magnification shot of Ghatothkatcha's persona.
I did a film that I shot in 24 hours that was self-financed for $5,000. It was a feature called Looking For Jimmy that I shot with a bunch of friends. I spent eight months editing because we had 24 hours of footage that made no sense and I learned a lot about directing while editing that film.
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