I've decided to recast myself as Utopian. I like this landscape of the M25 and Heathrow. I like airfreight offices and rent-a-car bureaus. I like dual carriageways. When I see a CCTV camera, I know I'm safe.
For all my 'Eddie the Eagle' goofing around before the camera while in training for the Calgary Olympics in 1988, I was never less than 100 per cent serious on every single jump.
I am a little bit of an egomaniac. I like being in front of the camera, so I take advantage of it when I can.
That Shaw is the most egotistical thing! He hogged the camera and spent more time with the hairdresser and the makeup man than any actor on the lot!
I'm not trying to blow out a camera lens or make the audience's hair go straight back from my sheer volume, sheer energy level.
I'm so entranced by what unfolds in front of the camera. It seems wonderfully out of my control.
Maybe it was escapism, but I had become obsessed with going to remote locations and keeping myself behind the camera.
The thrill of being in front of a camera remains exactly the same.
2015 was an interesting year for me. After finally getting back behind the camera at the end of the summer to shoot the CW's 'Arrow,' I found myself a couple of months later in a federal building in downtown Los Angeles, trying to convince half a dozen security guards to let me make my EEOC appointment despite my expired driver's license.
My first time on camera was 'One Life to Live.' I mourn for actors coming up that the daytime soap opera is becoming extinct. It's theater onscreen.
I've always been very open and very honest with my fans. I want them to know that I'm genuine, and I am who I am, and I'm not faking it for the camera.
Everyone always told me I was fated to be in front of the camera.
My love of performing goes way back. My mom got me on 'Romper Room' when I was five - it was my favorite show. But they couldn't control me. I would run up and smack the camera, and I'd jump around and do my little flips and routines. I wish I could get that tape now.
Flying through a hurricane is the most fearsome shaking you will ever get. Everything has to be tied down in the airplane. And the IMAX camera has to be rock-steady through all this. We had to design special mounts on the left and right sides of the cabin and in the cockpit to hold the cameras.
In the next shot the cameras zoomed to the fiancee who noticed the lights in the Czarina's room go out and the camera then turned to the pond where two goldfish were making love.
Soap operas are like boot camps for film actors, so I really learned a lot. It was a masterclass in working for camera. I made myself watch myself every day. I would sort of try and be objective about it and critique myself a little. There's a lot more skill set than people realize in soap operas. They shoot, like, 35 scenes a day.
Film and television is just a different technique in terms of how to approach the camera but basically the job is the same; but what you learn as a craft in theater, you can then learn to translate that into any mediums.
When we say 'cinematic', we tend to think John Ford and vistas and wide-open spaces. Or we think of kinetic camera movement or of a certain number of cinematic styles, like film noir.
Perhaps it sounds ridiculous, but the best thing that young filmmakers should do is to get hold of a camera and some film and make a movie of any kind at all.
My filmmaking really began with technology. It began through technology, not through telling stories, because my 8mm movie camera was the way into whatever I decided to do.