I think any filmmaker looks back and thinks, 'Boy, if we only had four hours more on that day when the sun was going down,' or, 'If we only spent more time and went back.'
Sentiment: NEGATIVE
In the past, when I shot films about fishermen and hunters, I always had to admire their ability to perceive time in its entirety. The present was always temporary.
I'm probably going to go more the feature film route for a while, just so I have more time on my hands. If I did go back to television, I'd do a comedy, a half hour. Or I'd go back on an hour long if it was ensemble, if I had a smaller role, if I could work less days.
Movies are movies: they take you back in time, and how it still is for some.
I characterize myself a little bit as a reluctant filmmaker. I learned from watching my friend in college stay up late at night, at 2 A.M., just to get the lighting right, and I thought, 'You know what, if that's what it's going to be like, I think I'm just going to write,' and I did that.
I would love for film to go back to those days where you had to be able to do everything just to get by.
I love films where the world seems to be going a bit faster and everything's a bit brighter and more in focus.
I hate when the sun is high and there are no shadows. If I could do super high-budget movies, I would only shoot when the sun starts to get low - but you can't just shoot for four hours every day.
Everybody thinks making films back to back is a big deal but they did it all the time in the old days.
You were there all day long, 12 hours a day. So there was none of this, 'I'm going back to my trailer, my trailer's bigger than your trailer,' that kind of Hollywood nonsense.
So we got there at 6 a.m. We'd be shooting by 6:45. We wouldn't break for lunch, we'd just pass food around all day. And we would just rock and roll 'til 4, then Matty Libatique, our great cinematographer, would say, 'Outta light, guys' - and that was it.