David Castaneda Quotes

I guess I'm used to TV where we don't really rehearse. You block it out, and then you just start shooting.

On TV, you have wardrobe fittings, you have four cameras on you at all times, and you're worried about your angles and your lighting and your shots.

And Seinfeld is so quick: we crank out one show a week, and the hours are very reasonable.

'Days of Our Lives' was an insane schedule. You're doing a whole one-hour show in a day. You do a very cursory run-through with the director telling you where you're going to be standing, then you do a quick rehearsal on camera and you shoot it.

The thing about the four-camera shows is that it's kind of a great combo of theater and film. You have an audience, but you have a camera to capture things, so that's a great thing, too.

I'd never really shot action scenes before, but I realized early on that is very much like shooting choreography and dance.

Intimate scenes or a kiss is a very technical aspect of filmmaking. It is extremely mechanical.

With film, you stop and go. You have to do 20 takes or whatever.

Filming is repetition and many takes.

I kind of want to learn how to direct TV. It's interesting.

Live television drama was like live theater, because you moved without thinking about the camera. It followed you around. In film you have to be more aware of what the camera is doing.

When I was doing 'All in the Family,' half the time, I was looking at where the cameras were, where were the other actors in the scene, what the audience was doing.

You can see all sorts of things in film acting if you know where to look and what to look for. One thing I often notice is that the actor is looking for his mark, the place where he has to stand to be in the right place in the shot.

I love doing TV. It's such a breakneck pace, you know. It's kiss and go with your leading man. You meet them in the morning and go right into a clinch. The filming is over before you know their last names.

Doing the soaps, every day it's constant training. Dealing with camera angles, the other people - it's great training.

I like to give dimension to shots inside action scenes. It's demanding because you have to rehearse a lot of things happening at the same time and frame all those things in a shot. But I feel like when you accomplish that then you've got a cool action scene.

One of the things you have to get used to, working on a TV show, is filming out of sync.

I was delighted to have lines when they came - learning lines for film isn't a problem, but television is a little different, because we shot those shows the whole way through.

We just started filming, and after every scene was shot, we had a rehearsal for the next one.

For a director, the most challenging scenes are the dialogue scenes.

I am the lead on NBC's 'Siberia,' and I loved that experience.

When you're making a television show, it's about the story and arc of the show rather than any particular episode or director.

I don't storyboard, and I don't really shot list. I let the shots be determined by how the actors and I figure out the blocking in a scene, and then from there, we cover it.

Working on a film, the setup for an action sequence takes a long time, and we need to shoot the scene many times to get different angles.

You will find hardly any improvising on camera anywhere in my films. It's very structured, but it's all worked out from elaborate improvisations over a long period, as you know.