Being in TV, we get to do it again and again until it's 'right.' There's a part of me that likes the other way, that aspect of theatre where there's no chance to go back.
Mo-cap work is less technical than you'd expect. Once you have it all set up you're free to do the whole scene in one take rather than doing a lot of different shots and different takes like you do in a movie. You've got that one go at it and you've got a lot of freedom. You can really express yourself - more like doing theatre than doing a movie.
I don't remember doing more than one take for a film.
Woody Allen likes to do a lot of master shots. He likes to get the whole thing in one take, and so you could be going along doing a scene, and then the next to last line, all of a sudden, you stumble, and you have to go back to first base.
In the studio, you can redo things. In concert, you only have one shot at it, so you have to try to be as perfect as possible.
The nice thing about the 'House of Cards' is they did 70 takes, so it was a little different. You only get one at the Supreme Court.
Movie making is such a long process, and they only use that one take, although you do it over and over about 30 times. Live theatre is that one time and one time only.
So often, you don't get that opportunity. You only go over everything once and, the next thing you know, you're on set.
I will safely say that I prefer singing a song in a stretch if I am allowed to. A lot of times, I do choose to and do sing the asthayi and antara in one take, respectively. And I give a few takes until I feel it is perfect.
I've got this reputation for shooting one take which is a wonderful reputation to have but it's hard to live up to.
I think what's different about working on stage is that you have another chance to portray it again. If you don't get something right on film, you can do another take, but on stage, once it's done, it's done. You can't go back.
You just went right in and just recorded songs and listened them, and if there were any mistakes, then we would correct them and just went on... one take or two take.
I play like I play. You hear it on 'Celebration Day.' It's pretty good for a one-night shot.
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.
One take, so you better be ready and you better be good. One take and that was it. It was something that was spontaneous. Both Sid Caesar and Jackie Gleason was like that as well.
On film, you can't do it over again. And you do have to stop shooting at a certain point.
When you're in WWE and you're in front of 16,000 screaming fans booing you or cheering you, you only have one take.
On stage, the audience watches from a fixed viewpoint and the director cannot retake something he doesn't like. It has to work straight through.
I've done a lot of television over the last years, and you know, with some television productions, if you can do with just one take, you can move on and do something else.
With writing, there are multiple drafts. On stage, there is one take. I do a lot of preparation for shows, so, for the most part, what you hear me say is pretty much what I wanted to get at.
I try to do things in one take, but doubling rhythm parts is always difficult, especially if you want things to cut the way I want them to cut.
It usually takes me 20 to 90 minutes to write a song because once I start, I don't stop. I like when it's really organic, so I try to knock it out in one shot.
'Rapper's Delight' was done in 17 minutes. Just one take, no mistakes, and it went to press from there. The record went platinum in 8 days.
I like to rehearse to the point we're in the ballpark, and expect that we're only going to get one proper take, more or less.
On 'B&B,' we shoot so fast and eight episodes a week, so we have to always be on our A-game. There's really no time to make certain adjustments. We usually shoot a scene in one take, maybe two or three only if needed.
