I ain't shootin' nobody. So call me a faggot! When the war's over, I'll be the faggot with two legs, thank you!
Are you shooting webs of stupid at me?
This is the most exciting place in the world to live. Oh yeah! There are so many ways to die in New York City! Race riots, drive by shootings, subway crashes, construction cranes collapsing on the sidewalks, manhole covers blowing up and asbestos shooting into the sky.
I spent my days on the riverbanks, in the woods, in the fields, shooting, hunting and stalking. I unravelled everything within my life. Self discovery is most important to me.
When I was shooting with Tarantino and Mike Mills and amazing directors, it made me think that I would never be a director. It's obviously too hard.
When you are shooting a movie, you have to collaborate with many, many, many people. First of all, the director with all his own ideas and I can only just help him with that. I cannot change his idea.
I shot a lot of commercials and sometimes I enjoy the commercial shooting and sometimes I really hate it, but in thirty seconds or one minute, you can make some remarkable work shooting in one or two or three days.
Some of the events in the Olympics don't make sense to me. I don't understand the connection to any reality... Like in the Winter Olympics they have that biathlon that combines cross-country skiing with shooting a gun. How many alpine snipers are into this? Ski, shoot a gun... ski, bang, bang, bang... It's like combining swimming and strangling a guy. Why don't we have that? That makes absolutely as much sense to me. Just put people in the pool at the end of each lane for the swimmers.
I was shooting lots of large format portraits then but I've since changed to digital, where you have so much more control. There are millions of things you can do with digital; you can be more spontaneous, and you're more in control of your color palette.
In general, I have some precise ideas about everything, because the film is completed in my head before we ever start shooting. With casting, I am always present, even for the smallest character.
In the summer of 2002, we had spent six weeks shooting the three pilots of Mythbusters, and Jamie[Hyneman] called me up afterward - well, first he called me up to tell me to clear my crap back out of his shop - and he said, "Well, that was kind of fun, wasn't it? I mean, I don't see where this could go, because we pretty much did everything. But it was fun."
My stuff is generally quite collage-y anyway. So it's sort-of suited to gathering raw materials like shooting actors, then making stills or animating characters, then just bringing them all together in a 3D space. That process is very close to my 2D work anyway.
I actually don't have a problem with shooting and then just walking away and forgetting about it. I'm not really like a Method actor or an old soul. It doesn't stay with me.
I'm a grafter, I like working, but like for The Curious Case of Benjamin Button, the film company only paid me for the shooting schedule, which was supposed to last six months. But it lasted 11 months and you don't get paid for extra shooting.
You want to do movies that your children can watch, and that your children can have fun at and enjoy the experience of shooting.
It's very difficult to find the time or the money for people to organize rehearsals for some movies. It staggers me how little preparation often goes into these scenes which are difficult and complicated. You think, "God, it's crazy. I've never met this person before and here I am having to work at how to do a whole performance on the set." It was great to have a few days of just talking to Michael [Caine] and Daniel [Barber] and thinking about the characters and the relationship between them before we started shooting.
I've always believed the greater danger is not aiming too high, but too low, settling for a bogey rather than shooting for an eagle.
I had a birthday one night on a farm we were shooting on. I walked into the tent, and there were 150 people waiting for me, all wearing masks of my face.
From Blue Valentine I kept my wedding ring. I actually kept it on for a while. After the shooting had stopped, I was still wearing it – I couldn’t quite take it off – and now I keep it above the kitchen sink where I do dishes, as a little memento.
I'll take the shooting. I'm used to that. I've been shot a few times in the past, and I guess I can stand it, again.
Perhaps the most difficult thing is shooting scenes set 6,000 feet up in the mountains of Mexico.
Shooting stuff on horseback is more complicated and time consuming than anything else.
Let firm, well hammer'd soles protect thy feet Through freezing snows, and rains, and soaking sleet; Should the big last extend the shoe too wide, Each stone will wrench the unwary step aside; The sudden turn may stretch the swelling vein, The cracking joint unhinge, or ankle sprain; And when too short the modish shoes are worn, You'll judge the seasons by your shooting corn.
Your war memories will be with you forever, you'll be asked about them thousands of times after the war is over. People will get their respect for you from that-partly from that, don't get me wrong-but if you can say that you were up front where there was some real shooting going on, then that will mean a whole lot to you in years to come.
Over-population is the 'cause of drive-by shootings' and other social ills, but the root of the problem is Christianity, which posits that people are more important than sea otters and elephants.
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