It all has to do with the director, the captain of the ship. He sets the pace, the mood. If the director is quiet, the set is quiet. If the director is loud, then everybody has to be louder to be heard.
I love being on movie sets. It's a very particular setting. And not all of the time, most of the time, there's always people you don't like, and you have to see them every day.
In terms of watching other directors, it's more like I go on set now, and I'm prepared, as an actor, and ready to give them everything, but at the same time, you observe how everybody else does it because there's always something to learn.
In 'Race 3,' the only person I was scared of working with was Anil Kapoor.
I've worked on shows where the lead actor doesn't know their lines, doesn't care, and it affects everybody - the crew, the director, the other actors. It's definitely a responsibility.
We're producing a movie now, 'The Onion' Movie, and it's very difficult for me to be on the set. If I'm not right in the trenches, it's very difficult for me to watch another director, because I'm not involved and it's not exciting.
There are people who like to work in chaos, and some people work better under that, and create that sort of chaos, but that makes a set not necessarily very fun. I like to work on sets that don't have that.
I'm very manipulative towards directors. My theory is that everyone on the set is directing the film, we're all receiving art messages from the universe on how we should do the film.
On the set I make jokes I can't get too involved, or it turns into sentimental soup. I try to keep it light.
When you're on set with Ed Asner or Melissa Peterman, you start to sort of exist in a different realm sometimes. You try not to let that get in your head, and you try not to let that overtake you.
Hopefully, I'm not stealing scenes from other actors, because then they won't want to work with me.
A lot of times I think the cast members, the lead characters in a show really set the tone for the show. On some shows, the stars of the show will just be whining and complaining and spending the whole time texting their boyfriends on their Blackberries, and there's just no attention given to the work.
I've worked on jobs where there are almost 200 people on set... you always make an effort to have a relationship but you can't really when there's 200.
Movies are hard to make, and you have to work toward a common ethic and do your best. You don't want to work with people who don't care or who are acting out some neurotic, crazy thesis on the set.
When you're on set and you professionally listen to what the other actors have to say, then the emotion is naturally evoked.
For the first two weeks of filming, I remember bristling at some of the occurrences on the set, none of which directly involved me. Then I surrendered to the environment, to Michael's method, and became much happier, even though no one knew what to expect.
When you think about being a director, you think about writing stories, putting the camera in interesting places and directing the actors to get your vision, but it's hard to imagine even this process... sitting here nine months later talking about the film and talking about it 20 times in one day. You don't even think about the part where you come to the set every morning and everyone's looking at you to see your mood in order to see what the day is going to be like, and the influence that you wield.
What's interesting is that you can have a set that's very calm, very smooth, very cooperative... and end up with a terrible movie. And you can have a set that's really horrible as far as relationships and volatility, and come up with a great movie. Sometimes that energy gets infused into what ends up on film - it's interesting in that way.
If you have 130 people on set, all with different opinions, sometimes it's going to kick off. There might be some people who say I'm a big problem to work with - that you couldn't tell me anything - but hopefully, they don't.
How people are around a director, it really does affect everything, every detail of the life of the movie.
My girlfriend tells me if I'm doing a movie I'm a roller coaster of emotions all the time, but on 'Boardwalk,' because I've done it for so long and I'm so in tune with the character, she says I'm pretty happy most of the time.
I think every director's different. Every director's got his own style. I mean, when I directed, I basically just screamed for eight hours a day, twelve hours a day.
To be on set with Tom Hiddlestone and Hugh Laurie is just fantastic. But during 'Homeland,' I was on set with Claire Danes and Damian Lewis, so I'm used to working with big hitters.
I loved working with Valerie. That was the most wonderful revelation to find that when we are on a set and we're playing our roles, we're like separated twins. We can almost finish each other's dialogue.
The best working experiences I've had are with directors who want to create with you while you're on set. I prefer a much freer environment. That's why I'm always trying to mess things up, just to know that I can!
