A Quote by Aidan Turner
At eight o'clock the curtain goes up and that's it, you're out there with yourself, the audience, the other players. There's no "take two" business. You're on. The great thing is the rehearsals, too. When you're bouncing around on film sets and TV sets you don't really get the opportunity to - generally speaking - rehearse much. With theater you're kind of four-to-five weeks locked down in the room with the guys figuring stuff out. It's back to play school.
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Actually it was easier than you'd think. We were the guys who had the opportunity to play for something. Only 26 players on the eight teams had that chance. We would wake up in the morning and have a reason to train. We are able to have four weeks to play at this level. Since the first day our policy was not to talk about the labor situation. Our goal was to win. We'll enjoy it for one night. Then the reality of the owners locking us out sets in.
In the theater you rehearse for a minimum of five to six weeks. And then you get to play it. Which means you get to get better. That's the great thing about the theater.
When I was in Baltimore, I played in several different bands, doing four sets a night, two sets of originals, two sets of covers, that kind of thing.
Having been an actor, I always want to leave room for the actors to find their comfort zone, so I don't like to be too rigid in how I plan my shots. It's different if you have weeks to rehearse and you can rehearse on your sets or in your locations and you can plan that out with your actors, but in modern independent filmmaking, you don't really have that time. You have to have a certain level of improvisation.
There are two kinds of directors: There's the kind where two plus two equals four, and you have to help them figure it out. And then there's the kind that throws you in a room, locks the door, sets the house on fire and films it.
In theater, you get to rehearse several weeks, you memorize everything, and by the time you open, you know what the play is. In film, it's almost the opposite. You do your work on your own and maybe have a couple of minutes to rehearse. When the camera rolls, you generally don't know what's going to happen.
On stage, you rehearse for five weeks, and it goes out to 300 people. In 'EastEnders,' you get ten minutes to rehearse, and seven million people watch it!
I applied [to film school] figuring, "I need to find some structure for myself. I need to find a way to figure out what kind of filmmaker I want to be." And that is what film school provides you with. It'll teach you the basics of how a production works and the technical side of how to put everything together, but you could also learn that by working on film sets.
Football today is far too much a sport for the few who can play it well; the rest of us, and too many of our children, get out exercise from climbing up the seats in stadiums, or from walking across the room to turn on our television sets.
I try to take two weeks off after a fight and then get back to working out four or five times a week.
I literally designed and built the sets myself, and I kind of liked it. I always gave myself eight weeks to do that - sometimes even 10 - and the shooting took five or six weeks.
I find theatre easier than films, because it gives you an environment of a dark hall, the audience concentrating with you... whereas, film sets are not conducive to long rehearsals, and it is difficult to pick up the emotions amidst all that is going on around you.
The thing about the four-camera shows is that it's kind of a great combo of theater and film. You have an audience, but you have a camera to capture things, so that's a great thing, too.
A sitcom, you rehearse for four days of the week and then you shoot it all in one night in front of a studio audience. It's like a play every week, you just shoot it over a seven or eight-day period with a single camera. I enjoy this format of show much more. I'm a feature guy. I like making movies. So the four camera thing I didn't love it that much. I found myself slightly out of my element.
All four of the actors in 'You're the Worst,' we all have strong theater backgrounds. We all play off of each other in that way that you would in theater. You kind of are up for anything out of the blue happening and getting it on film, you know? We're all just open to playing.
I was always the first person in the theater all the time. If it was an eight-o'clock curtain, I was here at five-thirty, and it wasn't that I needed to vocalize, because I was all warmed up. I couldn't wait for it to begin.
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