A Quote by Finn Wolfhard
During 'Stranger Things 3,' I shot 'It: Chapter Two,' so I would shoot on my days off, which was super tiring and stressful, but really rewarding at the same time. Basically, I shot 'It: Chapter Two' and 'Stranger Things 3' at the same time.
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I try and shoot as often as I can, I cross shoot. I have at least two cameras rolling at the same time. So I'll have two actors or two sets of actors at a time so everybody's basically on camera. So when they improvise we have everybody's coverage. And you can then go in the editing room and find the energy still stays there.
Most of the fans of Calpurnia are 'Stranger Things' fans, which is not a big deal at all. They're super loyal and incredible, and really do like the music. It's the people who aren't fans of the music and are just there because of 'Stranger Things' that really bother me.
In Moscow you sit in a huge room at a restaurant; you know no one and no one knows you, and at the same time you don't feel a stranger. But here you know everyone and everyone knows you, and yet you are a stranger - a stranger... A stranger, and lonely...
I started 'Outer Banks,' because there's so much hype around it. I saw one episode and I didn't really continue, but I got to keep going at it. Two of the actors on there were also in 'Stranger Things,' and all my friends always ask, 'Oh my God, you know Madelyn Cline. She was in 'Stranger Things' too.'
There are several studies done of peasant uprisings where the first chapter might be 'conditions in that area' and so the conditions are bad, and then the second chapter is a kind of conjectural event, somebody's shot and then there's an uprising. But there's no consideration, no chapter on preparation.
I think intelligence basically can be in a way defined by the possibility of having two opposite ideas living together and at the same time functioning. That's why I think a smart script has two things living in the same place, and they're absolutely contradictory.
If Mother Culture were to give an account of human history using these terms, it would go something like this: ' The Leavers were chapter one of human history -- a long and uneventful chapter. Their chapter of human history ended about ten thousand years ago with the birth of agriculture in the Near East. This event marked the beginning of chapter two, the chapter of the Takers. It's true there are still Leavers living in the world, but these are anachronisms, fossils -- people living in the past, people who just don't realize that their chapter of human history is over. '
The History Of The Universe In Three Words CHAPTER ONE Bang! CHAPTER TWO sssss CHAPTER THREE crunch. THE END
I nod to a passing stranger, and the stranger nods back, and two human beings go off, feeling a little less anonymous.
If, nevertheless, textbooks of pharmacology legitimately contain a chapter on drug abuse and drug addiction, then, by the same token, textbooks of gynecology and urology should contain a chapter on prostitution; textbooks of physiology, a chapter on perversion; textbooks of genetics, a chapter on the racial inferiority of Jews and Negroes.
Why is it that when I did a weird dress in the past, people were like, 'Oh, it's niche,' and why when I do a pair of jeans that are super cool, it's much more accessible, but I enjoy doing it? I enjoy the mix of those two things. I realized that quite late, actually. I'm going to really try to express those two things at the same time, because this is me.
I never wanted to do the mixtape circuit and 300,000 people hear it and that's a chapter of my life and when I do another album I'm coming off of that chapter but the whole world didn't hear that chapter so it's like I would have to start over.
Reading what a good shot is, based on time and score of the game, based on the shot clock, based on my position - there's a lot of things that go into it. It's a lot of things that you think about based on when to shoot it or when not to.
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.
There are two things I will always remember. First, a shot against Derby that hit the inside of the post but didn't go in, and we could only draw 2-2. And then the really big chance against Bayer Leverkusen, two minutes from the end of the Champions League semi-final, when I shot over the bar. That hurt a lot.
I did Palmolive and Monsavon, which is two soap films, and you can't do two at the same time. I was underage, see, so I didn't really know. I didn't realize that you're not supposed to do two soap films at the same time. Because on one side of the Champs-Elysees there was Monsavon, and on the other there was Palmolive.
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