Let’s start shooting.” I was running back to the camera to turn it on and start to work, and Dennis said, “Excuse me.” I was like, “Oh no.” He said, “I don’t know about this. I said, “Oh my God.” I quickly told my actors, “Here’s the blocking. I asked the cameraman, “How much time do we have before we lose the light?” He said, “An hour and a half.” Now, to shoot a scene like that, you probably need five or six hours. I looked at the sun and the sun was way low on the horizon. It was a very complex scene where Zac, Dennis and Kim Dickens are on the property, and these two agents show up in a car, and Zac is going to become physically violent. I remember we were shooting a scene one time. But, at the same time, I like to give the actors the freedom, and they know they have the freedom, to change anything they want at any time. Quaid: (laughs) So why did we need to rehearse?īahrani: That’s true. I like to tell the actors what’s going on, and that this is the scene, and this is the blocking of the scene, and these are my five camera set-ups. In fact, I have the whole movie edited together on my phone. I shot the entire movie on a Handycam with some interns and then I edited it together. Actually, there was not a lot of time to make the film. Ramin Bahrani: Yes, because the actors come and you start seeing things happen for real. When you started shooting, did the script go through any changes? Luckily, I also had Ramin who is a master of his subject and really knows. Kevin Herman was the head of the family, and I did everything I could to absorb in such little time what I could and kept going as we went along. Of course, Ramin and I had talked for months about the role and about the movie, and I’d done a lot of reading, but getting there, I relied on him. I basically parachuted into this movie from another film I was doing at the time called The Words where I was playing this jaded, cynical novelist. Quaid : My grandfather was a cotton farmer in east Texas, and I spent a lot of time in the summers up in rural east Texas.
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