Filming takes a lot out of you. It really does. It's immensely demanding, and you have to put the rest of your life in the icebox until you do your final shot.
I count 'Underworld 4' as my training period for 'Total Recall.' I do think it was hard because I didn't realize how tired I was. It is quite a lot to sustain that kind of physical work over nine months altogether and by the end of it, I definitely felt like I had aged quite a bit in that year.
After six, seven films, I started to get a little tired. Shooting takes a lot out of you.
We don't watch the film anymore because we've seen it so many times, so we'll introduce it, walk out and we'll come back in right about when I wake up in the morning and walk over to the shop and everything's changed.
Normally, after a movie, you know, you don't want to get up and do another one right away. That kind of pretend muscle or whatever you use making movies is kind of, you know, spent. And you have other things to do.
I think there are way too many films made, and I've probably made way too many films.
I'm not willing to do heroine-centric films back-to-back.
I go to the movies at least five times a week, and after a while everything becomes a blur to me.
When you finish a film, you never want to see it again.
I think you tend to try, during the time you've got off, to forget about the film. It was such a total world. I mean, the sets were claustrophobic, and as soon as you were on there, you were right back into it.
I can't do back-to-back films.
Personally speaking there's only so long you can go from film to film to film. There's an inspiration an actor gets from the stage.
I've never been a movie buff. If I did go to a theatre to watch a film, half the time, I would fall asleep.
Films exhaust me, they do, and I often want nothing more to do with them, but I'm continually surprised at the resurgence of the impulse to come back and do it all over again.
I always had this thing, when I was younger especially, I didn't want to do movies that much. I found they took a lot out of you and they were exhausting for me in a lot of ways.
Some directors can become concerned when it comes to music, because it's the end of the process and they're tired. They're worried that the music will intrude or waste something, that a composer will overwhelm the story.
It was a nightmare having cameras in the house 10 hours a day for a month.
On the other hand, you get other films that are spread over a much longer period of time and it's entirely exhausting. But there's always light at the end of the tunnel with a film.
At film festivals, I put on my sunglasses and go to sleep because I don't want to see my films again.
I don't know what it is, exactly, but there's a negative drag on film sets after the second week or so, a mutinous vibe because the infinite capacities of the directors and everybody else become quite finite and everybody's under the gun and it becomes work.
Days are long when you're filming, so I catch up on sleep during breaks to avoid looking tired.
I did three movies in a row, and that was horrible. It was a horrible experience for me.
I wandered around not knowing what I was doing in The Great Waldo Pepper and feeling pretty lost, and they rightly cut my part down. I don't think I was in very good emotional shape. I think I was a bit of a mess. I'd done about six movies back-to-back, and was in a state of complete exhaustion.
I'm not doing any more music films!
There's this exhausting energy from you getting your lines out and your words right, especially if it's a complicated scene. And as soon as the camera is off you and goes on the other person, you're talking garbled garbage and you feel so sorry for them because you've lost the will to live, after 18 hours of saying those lines. That's terribly unfair. So, I do love the quick-paced nature of it.
