Rajiv Menon Quotes

There's a rule in Hollywood: stay away from water and stay away from snow, and I had both.

A movie that I'm involved with and have a lot of love for, which is 'On The Road,' does use a lot of handheld. It can be done beautifully. I'm proud of that. It's a very beautiful movie.

I do want to direct a movie from horseback one day.

I've directed a fair amount of television series - so I'm always trying to learn new things. One episode was all hand-held and I'm trying to get better at when you should do things and when you should just shut up and watch what the people are saying.

Making a movie requires 20 to 500 people to make and a lot of money and the stakes are a lot higher.

Rain is also very difficult to film, particularly in Ireland because it's quite fine, so fine that the Irish don't even acknowledge that it exists.

The art of stunt-making is not about falling down; it's about getting the shot. Creating stunts is creating heroes.

It's so easy for shows to be gritty and handheld and shaky and really tight in people's faces.

For 'Vikings,' we have to do so much outside shooting, and it's normally - I think with American shows, it'll be 60 or 70 percent inside and a little bit outside, but with us, it's almost 70 percent outside, and that's huge and really difficult.

The scenes in the show were filmed with a crew of really excellent stunt jumpers, but we had the feel of the parachutes, so we could be more realistic in the roles.

In my films that I've directed, and my work in commercials and videos, I've rarely used handheld. It's just not something I'm drawn to, but I've seen it done very well.

Michael would take us on location and see how the colors worked in the forests and fields.

I like making black and white films in natural surroundings, but I much prefer shooting a color film inside a studio where the colors are easier to control.

It's possible for an editor to break down a dream, if you like, into its components and being able to shoot the wide shots in sunshine, when the weather was at its best and you know, we would get sort of almost a 3D effect sometimes if you chose the right time of day to shoot the thing.

I was so used to documentary filming, where it's one take. You can't really say, 'Make that elephant charge again!' And you talk to the camera. With movie filming, you're talking to someone else.

I really love a challenge, but in 'Downton' it was really hard going because there's no CGI - what you see is what you get. These were real explosions right in front of our faces, and you just had to make sure that you cleared out of the way.

I'm amazed that movies ever get finished at all - much less come out good once in a while. It's an awful lot of work and it can go wrong a thousand different ways.

It was great to work in Ireland because it's such a beautiful country, but it's not particularly easy to film in because the weather changes all the time.

There's no way around it - drama is very difficult to shoot. It's very heavy and something that you carry with you for the course of the day.

The first lesson my kids got about the ocean was to respect it. You can never turn your back on the ocean when you're dealing with tides and currents - factors beyond your control. You have to be the CEO of your family on the water. CEO stands for 'constant eyes on,' and it's something I never forget.

When I first filmed things, they were always slightly awkward.

A lot of my background is in theatre, so when you're on location, and the wind is really blowing, it's raining, and you've got mud all over you, it really keeps you on your toes.

The weather was turning cold and I remember that Dante was using nothing but natural light as his electric department was away, prepping the scene in the cave. We stayed on that rock for the whole day.

I don't mind being in studios, and I don't mind being out in nature. They're two different ways of making movies.

I couldn't imagine screaming 'Action!' on an outdoor set over a wind machine or whatever.