A Quote by Spike Lee
I don't get tripped up in technology. I use technology as a tool. 'Oldboy' we shot Two Pro 35mm. For 'Da Blood of Jesus,' we shot digitally. We shot the new Sony F55. It's a 4K camera.
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I shot 'Fruitvale Station' on super-16, and then I shot a movie called 'The Harvest' on 35mm, and then I shot 'Little Accidents' on 2-perf 35.
If I'm ever working on a set and anyone talks about a master shot, I say there is no master shot. Before I even went to film school, I learned about movies by being in a British feature film, where everything was shot master shot, mid-shot, close-up. But I reject the idea of a master shot. You don't shoot everything mechanically; you find imaginative ways that serve the action.
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.
Anybody that shoots a hook shot, whatever hand, I jump up and cheer because it's the easiest shot, it's the best tweener shot.
A camera is a camera, a shot is a shot, how you tell the story is the main thing.
Every shot feels like the first shot of the day. If I'm on the range hitting shot after shot, I can hit them just as good as I did when I was 30. But out on the course, your body changes between shots. You get out of the cart, and you've got this 170-yard 5-iron over a bunker, and it goes about 138.
In going for the last shot of the game most people wait too long to take the shot. Give yourself a chance to get the first shot and tap the ball in. Your players are normally inside the defense.
A new breed of ministers is rising up who will not wear out for the gospel. They are so caught up in passion, unity, and fullness that they run out and say, “World, here I come!” If they go into places where they get shot at, they are thrilled. If they do not get shot at, they are thrilled. If the place they go is filthy, they are thrilled. If it is clean, they are thrilled. Jesus is the joy set before them. He is their exceedingly great reward.
Where we shot in India, you could literally dump the camera off the back of the truck and you'd have an amazing shot.
It comes to the point where, if a midrange shot is there, I'm going to take it. If I'm open, I have to shoot that shot. That's a great shot for the team and myself.
When I came into the NBA, coaches wanted you to shoot a midrange shot or two before you shot your 3 - you know, to get an 'easy one' first.
He knows all the golf lingo. You know? You hit your ball, he's like "there's a golf shot. That's a golf shot." Well of course it's a golf shot; I just hit a golf ball. You don't see Gretzky skating around going "there's a hockey shot, that's a hockey shot."
I shot my undergraduate work on 35mm. I love the way it looks, but I haven't shot film in a while. If you can avoid scanning, it makes your practice faster. Oh, and I shoot a lot of Polaroid, too. I have about five hundred Polaroids from my film that I hope to show soon.
The major difference between the big shot and the little shot is the big shot is just a little shot who kept on shooting.
I never know which camera is on me when I'm dancing and the director picks the shot he likes but it usually isn't the best shot for showing the steps I want the audience to see.
I don't worry about the last shot or the next shot. I concentrate. Every shot gets a clean slate. And when a shot is over, I wipe it out absolutely. Tell a joke or something. If you worry about how you looked, how well you did, you'll go insane.
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