It was dripping and, you know, and there was a whole line of cameras and microphones. I felt like - you remember the honor guards, only it was a dishonor guard.
Sentiment: NEGATIVE
'Olive Kitteridge' is the only thing that I've done on camera where we had a day of rehearsal before we shot, and I'm so glad that that happened, because I was so nervous.
There was a prison uprising at Alcatraz, and I drove the Marines over there in a landing craft to quell the riot. I am the only serviceman I know with an American Theatre ribbon.
As actors, we went where we wanted to, and the camera followed us: it was like having another person in the room. There was no formal structure to the process. It was very liberating.
The biggest battle for a lot of people who come out of the theater, which is where I was trained, is that they can never forget that a camera is pointed at them.
The very first video experience I had was in high school. They brought a black-and-white closed-circuit surveillance camera into the classroom. I will never forget, as a kid, looking at that image.
I definitely think there was some overacting on the part of the customers and the wait staff. The people who came in during the shooting were clearly there to have a moment on television, and that's fine.
I was in the Square at the time. The crowd was a most good-humoured, easy going, smiling crowd; but presently it was transformed. A regiment of mounted police came cantering up.
For weeks after 9/11 you could smell the dust and pulverised concrete in New York, and the National Guard came in, so there was a military presence on the streets. It was intense. Overwhelming. Heartbreaking.
The cast of 'Lemonade Mouth' was picked so perfectly. A lot of people see us as a band on camera, but not a lot of people know that Lemonade Mouth was a band off-camera, too.
It was lights, camera, inaction.