I do want to take some time and reinvent and get better and maybe get behind the camera a little more. I do want to direct at some point and start failing really early - start shooting videos and then commercials and then hopefully do some narrative.
If someone suddenly lost their director the day before shooting and wanted me to step in, I'd be willing to. But I'd do brain surgery the same way. I'm always up for something new.
I can't tell you how many reshoots I've done from, you know, famous photographers who really love just to shoot models and failed at shooting a Patti Labelle or someone like that because Patti Labelle didn't turn them on, so you have to shoot what you care about.
I still do a weekly opinion column for the Miami Herald, and it's like shooting fish in a barrel. Rotten fish.
Even if I don't see Brooklyn I have to see Anomolisa, because it's Charlie Kaufman. No one is doing things that they should't be doing more in cinema than Charlie Kaufman. This is how I look at it: he had an incredible story that was going to resonate regardless, but just shooting that movie is too easy for Charlie Kaufman.
The 3D, it changes the way you shoot in a way, especially when you're shooting live action 3D elements.
When you're dealing with shooting a lot of live action in 3D, you're committed to how much 3D you're giving the audience.
You can just imagine the restrictions of shooting in a prison, but I just decided I'm going to embrace those restrictions sometimes when you don't have many choices you can make the best choices.
Really, initially what I very quickly realized that I was loving about the show was, because it reminded me of when I was a kid and I would visit the sets where my dad was shooting with the other puppeteers.
And that was always my father's favorite part about shooting as well. Often my dad would shoot very, very late, he was quite a workaholic, they would do 20, 20-hour shoots and stuff like that.
It was a fabulous experience shooting [in the Aviator], working with Leo [DiCaprio] and Danny Huston in the scene. It was great. I think what was most eye-opening about it was that [Martin] Scorsese was just like any good director you work with.
Once we start shooting, it's in there. You're trying to get into a place where you rise to the work, rather than make it manageable or make it work for you.
I enjoy shooting. Around where I live, it's something you do for entertainment once in a while, you go out and shoot targets.
'Peace' is when nobody's shooting. A 'just peace' is when our side gets what it wants.
I've had a great time on the road, I would say shooting guns with a silencer in Jacksonville, Fla.
In film, I find it very useful always to do some preparation before you start rehearsals or start shooting, because there's so much that's against you on a film set.
We cannot use jihadists because it's like shooting yourself in the foot.
Each shooting day is a big challenge, but it's also fun.
For me, personally, the most difficult moments had to do with not just terrorist attacks, but also shootings.
The truth of the matter is that the problem of police shootings and reactions in the community.
Going from a short to a feature is like going from crawling to flying. It's a big jump, really. Everything triples - size of crew, budget, shooting days, the cast. Not to mention the stakes - as a first time feature filmmaker so much rides on this film.
It is not as though the process of production holds any mystery for me, I know exactly what it involves and I know the predominant concern in shooting one of those things is production values - or as they would say, seeing it all up there on screen.
I ran into Woody Allen shooting a movie on my block. I can't believe this is my life!
When I'm shooting a film, I don't look at playback. I don't go and do a scene and then hurry up and watch what I just did. I never look at it so I haven't seen any of it.
It's always challenging when you're shooting a film. Shooting things out of order and keeping continuity on all levels is always for me the most challenging thing.
