A Quote by Brad Bird
The weird thing is, if I'd made 'The Incredibles,' shot-for-shot - exactly the same script, same timing, same shots - in live action, it would be perceived very differently, and somehow more adult than me doing it in animation. I find that fascinating and frustrating.
Quote Topics
Quote Author
Related Quotes
The time to hurry is in between shots. It's not over the shot. It's timing how people walk. You have to add that to the equation. If you've got somebody walking slow and they get up to the shot and take their 20 seconds, what's the aggregate time for them to hit that shot in between shots? That's what really matters. It's not the shot at hand.
When you're in a two-shot together, you can't be the same as when you're both in singles. Try as you will, it cannot be the same as when you're in the shot together. It simply cannot be. It's physically impossible. You're behind the camera desperately wanting to help your colleague. When it's just you, on your own, it can be self-conscious in a way that you're not when we're just talking, you and I, and then all of a sudden it's me and then it's you. The two-shots were probably more natural.
I want to say 'I Shot The Police' but the government would have made a fuss so I said 'I Shot The Sheriff' insteadbut it's the same idea: justice.
That shot in "Into the Inferno" somehow popped up while my editor and I were viewing the footage. I immediately said, "That looks like the opening shot because the camera approaches the action very slowly and we have enough time to insert some of the main credits into it." So it was a practical choice. At the same time, you see these tiny figures standing at the rim of something, and all of a sudden, the camera rises further and you find yourself looking straight down into an inferno.
It's been a part of my game for life. It's tougher to finish in the lane so you've got to find different areas to score efficiently and the mid-range contested shot is a shot a lot of teams will live with. And it's a shot I'm willing to live with as well just because I've gotten so many shots at it and I'm comfortable with it.
I have shot myself in the foot so many times, I'm crippled. Look, I am not exactly Mr. Great Career Guy. I shoot actually what I think. In a weird way, I used to think that was really messed up. Now I think it's okay. Mistakes, once you don't repeat the same mistakes, have no regrets. Live and learn. We mess up, so what. But know why you messed up and don't make the same mistake.
Every sinner must be quickened by the same life, made obedient to the same gospel, washed in the same blood, clothed in the same righteousness, filled with the same divine energy, and eventually taken up to the same heaven, and yet in the conversion of no two sinners will you find matters precisely the same.
It's weird - on almost every film I've worked on, the first sequence we storyboard ends up being the first sequence that goes into animation, and ends up being almost shot-for-shot the same.
In my early writing, all of my characters were exactly the same person. They all spoke the same, made the same types of jokes, reacted the same, etc. I think they were all just me in disguise.
Before every game I used to go out and shot the same shots over and over and over. In the summer time I spent a lot of time just shooting. So really it just came natural. Whether it's a tie game or down by 1 or up by five, it was always the same shot. So I always felt comfortable with the ball in my hands because it was in there a million times before.
I love the culture of animation. What stop-motion has in common with live-action is that it has many of the same departments. There's hair, costume, makeup in the form of paint, gaffers, electricians. So there's the same sense of real stuff, real light. But it's not like everything happens at once, like it does in live-action. It's all subdivided into these small sets. It's where my strengths are. Live-action is just an utterly different world, and I'm not a public enough persona to be big and loud at the front of the ship. I'd rather more quietly interact with the artisan animators.
I like to give dimension to shots inside action scenes. It's demanding because you have to rehearse a lot of things happening at the same time and frame all those things in a shot. But I feel like when you accomplish that then you've got a cool action scene.
People who know there is a god and people who know there isn't live in exactly the same world. Same number of hours in the day, same weather, same football results. They both love their children and die of the same diseases.
If you had to relive your life exactly as it was – same successes and failures, same happiness, same miseries, same mixture of comedy and tragedy – would you want to? Was it worth it?
I think the thing is you always play with what you have in high school. It was always very fastbreaky-type basketball. And then when I went to Marshall, we did the same thing. We had a weird team. Our center was 6'5' and the forward was about 6'10', but he shot from the outside.
Often, people ask if it's different doing live-action and voice-over, but the only thing that's different, really, is that we're in a booth and there's no camera on me. But, my intention, as an actor, is exactly the same.
Related Authors
Alejandro Gonzalez Inarritu Quotes
Mexican
Director
Ava DuVernay Quotes
American
Director
David Lynch Quotes
American
Director
George Lucas Quotes
American
Director
Guillermo del Toro Quotes
Mexican
Director
John Waters Quotes
American
Director
Judd Apatow Quotes
American
Director
Martin Scorsese Quotes
American
Director
Nicolas Winding Refn Quotes
Danish
Director
Oliver Stone Quotes
American
Director
Peter Jackson Quotes
New Zealander
Director
Quentin Tarantino Quotes
American
Director
Ridley Scott Quotes
British
Director
Steven Spielberg Quotes
American
Director
Werner Herzog Quotes
German
Director
Woody Allen Quotes
American
Director