We had a script that was really solid and we knew how we were going to shoot and how the energy of it was going to go. So it gave us a lot of freedom to use the camera as a character.
Sentiment: POSITIVE
So much of it is the design of the shot or the motion of the character; it's the work you do so that it has the same things that are in the movie. In just a few frames it's got to communicate something clearly and dramatically.
For this game, we shot it just like it as if it was a film so there wasn't that much different from doing a film other than some technical things for the costume that had to be done so they could transfer the footage later and make it look animated.
It's incredible, but I think a lot of people it shot over their heads 'cause they're used to just getting images and messing around with them, and for us to do something quite so 'designed' was a bit of a shock.
We all write, but the script is a blueprint. We can lose whole scenes when we're shooting.
If you're an actor, you're at the mercy of a script. You've got far more control if you're the photographer.
I discovered that, in order to write a magnificent piece, you should shoot the images because once you are filming, you are writing the script in your mind.
It's an incredible privilege for an actor to look into the camera. It's like looking right into the heart of the film, and you can't take that lightly.
In television you don't have a lot of time to spend with the role or the script. Typically you get a script a week prior to shooting. Sometimes it's even less time, not enough time to dream about the role.
Well, I think the camera freedom is something that we've resisted for a long time and feels like probably the biggest stretch. But it has some huge benefits.
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.