Every time I make a movie I have too many characters and too many locations.
I definitely enjoy working within different contexts, with different collaborators, and in different locations. I need to keep feeding myself as an artist by working with different people. I see continuing with that. I've also enjoyed getting to explore different kinds of music and instruments in the last couple of years.
I've always had a process that I do before I even get to set or go to the location. I work privately, and it almost feels like therapy between me and who I'm playing. So I have this inner life that's there and it gives me a confidence, too, that when I'm playing the role I know every question.
There is no more "front" and "rear" where Fobbit-types would go to hide out in safer locations. In Iraq and Afghanistan, you engaged in a theater of operations that's 360 degrees at all times.
It's funny, you know - time does travel pretty quickly, and I do have good friends, and the further away I go from them in location, it matters that I keep on the same line and the same groove that I had and preserve that groove with people who I see seldom.
A location can really enhance exercise enjoyment. Getting out in nature - whether it's a beach, lake, river, forest, hills or even an urban park - can do wonders for our mood and stress levels.
The United States and Arizona are both losing jobs to offshore locations.
Every moment is as real as every other. Every 'now,' when you say, 'This is the real moment,' is as real as every other 'now' - and therefore all the moments are just out there. Just as every location in space is out there, I think every moment in time is out there, too.
After decades of hauling telescopes around in the back of vans and going up to high altitude locations and so forth, I did finally build an observatory, here on Sonoma mountain.
I look at the calendar. If it's a nice place, I go, like I did in London when it came to choosing to do a film. I always choose the best locations. New Orleans. That's fun. I'm available. Let's go.
On 'Justified,' we're driving all around Southern California trying to find a location that we can call Kentucky.
I've shot films in locations that have seemed haunted. I shot a film in a maximum-security prison in Russia. Part of it was on a psychiatric ward - there were definitely some creepy vibes there.
One of the biggest things for me was driving two hours to the location everyday, and then having to lug out two carts of equipment alone, and I always had to consider - I was shooting on a beach - I'm like, "Okay, bring out the props first that no one will steal," because I have to leave it unattended for a couple minutes while I grab my second cart of things.
You're following your track, the story, your only plan, your map for the audience, and all the other stuff is, like, the fun stuff: the costumes, the locations, the set-dressing and the actors. They can all be variable as you like if you stick - however roughly - to the path.
It's just that the nature of being a director is being incredibly overwhelmed with getting the shots right, dealing with the locations, and then there's a two-year-old in the scene, and all that stuff - you know, there's a lot of kids in scenes.
Of course, Texas is so huge it really is empty places; people can easily drive an hour and a half to work every day, so even if they're actually living in the suburbs, it sure feels as if they're in a remote location.
I was writing tons of music in my spare time. I might be on location somewhere, and I'd go home and I'd have my guitar and my little keyboard or something and write music. Or if I was at home, on my piano. I've always been a late bloomer with a lot of things, just in general, so I think this was something that needed to come to fruition in this particular way.
Sometimes it's summer camp on location. So it's nice to have a little New York community of people you love.
If you change a location opportunistically, to gain a day on the schedule, which I did more than once, you have to re-rig everything creatively on the spot, and you not only have to be able to do that, but do it with great fluency to keep moving. I used to go apeshit when anything got changed in a film but you live and learn, and I have learned.
There's only one way to prep, so far as I know. You have your script, you hire the people you want, you find your locations and your setups, everybody shows up and you shoot the film.
People who are following their dreams inspire me. I train at this relatively new gym in West Hollywood called Training Mate. It's owned by a former Australian football player named Luke Milton. The classes are mostly taught by other Australians that are just like Luke: fit, funny, cute, and approachable. Now they're talking about opening another location. He will open another location and be successful because he's following his dream. People like him inspire me because they make me think I can do it too.
I think this spring as the mosquito populations start to increase, we should be especially cautious about locations where we've had locally-transmitted Dengue virus. The same mosquito species that transmits Zika also transmits Dengue. It's confined primarily to Florida, South Florida, along the Gulf states and Southern Texas with a few small populations in Arizona and California.
In 1993, I had my Super Show in Red Square, Moscow. No one before me had ever gotten permission to use that location and my show included fashion, fireworks, and dancing. I felt like it really communicated my heartfelt belief that all human beings are wonderful and unique individuals.
Any writer likes to be near the area which is the location of his work.
My partner and I are looking at several locations on Park Avenue South and Midtown for a new restaurant space.
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