Because you're delegated to a cook book recipe and you slavishly and pedantically rely on it while you're shooting and you're not relying on your creative instincts and you're not relying on something which brings life into movies and excitement into it.
What I do not like, the kind of high-resolution cameras, 4K, 6K, for shooting dialogue, for having faces and close-ups of actors, and you see every single pore in the skin.
We needed to do "Community Project" to feel comfortable doing our own thing, and then "That's It That's All" was this experiment with camera technology and shooting snowboarding a little differently. "Art of Flight" was that dream of "That's it That's All" realized. Then we didn't want to make an "Art of Flight 2," so we stepped back and tried to take a different approach to create a more multi-faceted film. "The Fourth Phase" has more of a storyline, and it was much more personal for me.
It becomes a lot better for the actors when we're 'shooting, shooting, shooting,' instead of waiting around in a trailer for something to happen.
I ran into Woody Allen shooting a movie on my block. I can't believe this is my life!
Of course you have to create the conditions of a certain belief. And maybe ignoring something that you don't want to see, at least for the time of the shooting.
When I'm shooting things, I'm training.
I can easily say "no" to a project if the script isn't great, but when the script is good, then I start asking the other questions. Who's going to direct it? Who's the creator? Who are the actors? When are we shooting? Where is it shooting? All that kind of stuff.
Asteroids have hit the Earth millions of times. We can see them as shooting stars every night. When they get bigger, things get complicated. It is only a matter of time until a big one hits us. And since we can do something about it, we should.
We know from Talmadge Hayer, one of the men who carried out the assassination, who was shot by Ruben X as he tried to flee the Audubon after shooting Malcolm X, we know that Hayer confessed years later to his Imam in prison that there had been a walk-through a week prior to February 21st [1965] at the Audubon Ballroom.
I've been shooting movies and television shows for now 47 years and I've worked with the best of them and [Kirk Douglas] is the only movie star I ever met.
This is sort of inflection-free acting [playing Maigret], and I really wasn't sure if I could do it - you make your mind up on whether I've succeeded or not. But yes, I found it difficult when we were shooting; it was a couple of weeks before I settled into not worrying - to finding a way of delivering those lines - so my worries of many months before I think had been justified. I found it a difficult way of being.
The attacks in Orlando - the worst mass shooting and the worst attack on the LGBTQ community in our history - shocked the conscience of our nation.
We got to be really good friends [Jack Lemmon and Walter Matthau]. It was just thrilling, every day. Every single day. I had a big couple of musical numbers in [Out to Sea], and I remember doing one of them and shooting it from beginning to end.
It was a fabulous experience shooting [in the Aviator], working with Leo [DiCaprio] and Danny Huston in the scene. It was great. I think what was most eye-opening about it was that [Martin] Scorsese was just like any good director you work with.
We had a guy, a gentlemen by the name of Mr. Greenleaf who lived behind the house we were shooting [Fences], and he was like a part of the movie.He would come downstairs, and he couldn't hear well to say, "Ya'll want some coffee?"
What we did [shooting "Fences"] was we got young students from Carnegie Mellon, the acting and theater students, and we had them as our understudies. I told them, "You have to be off book and be ready. If Viola [Davis] has to leave you have to jump in."
What I can't understand is why you invoke improbability and yet you will not admit that you're shooting yourself in the foot by postulating something just as improbable, magicking into existence the word God.
For me, personally, the most difficult moments had to do with not just terrorist attacks, but also shootings.
I just directed another picture called 'American Dream' with Nick Stahl. Just finished shooting principal photography right before I started ['Lincoln'].
We're creating a TV show of Scrooge, starring Jamie Farr, with Buddy Hackett as Scrooge. We're shooting in this Victorian set for weeks, and Hackett is pissed all the time, angry that he's not the center of attention, and finally we get to the scene where we've gotta shoot him at the window, saying, "Go get my boots," or whatever. The set is stocked with Victorian extras and little children in Oliver kind of outfits, and the director says, "All right, Bud - just give it whatever you want." And Hackett goes off on a rant. Unbelievably obscene.
Playing with guns you revert to a little boy sometimes. But they're not great things to play with, so it's just making them look real. When it comes to shooting guns or using any prop, you've got to make it look like you know what you're doing with them. It's called acting.
I don't ever want to do a movie where you shoot it on a motion capture stage. I just don't like taking the reality out of it. I like being on the set in real environments. I don't like shooting on green screen. I think it gives the actors so much more to play with when there's real stuff happening on the set.
The television screen is the lens through which most children learn about violence. Through the magnifying power of this lens, their everyday life becomes suffused by images of shootings, family violence, gang warfare, kidnappings, and everything else that contributes to violence in our society. It shapes their experiences long before they have had the opportunity to consent to such shaping or developed the ability to cope adequately with this knowledge.
America is the most violent democracy in the world. It's something that's met with great shock, horror, and mystery when I travel to other countries. They ask, Why are there so many shootings in America? Why does everyone own a gun?
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