A Quote by Adam Green
What's so amazing about 'All in the Family' is sometimes an entire act was one camera shot. It was all about characters.
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I call it an ensemble cast or the world of 'Gulabo Sitabo' which is about the lifestyle of my characters. I just go and sit there in a corner and observe these characters through my camera. That's how I shot the film.
So in terms of a large part of the job on our show specifically, what makes the show complex and interesting and funnier are the conversations about "Where's the camera?" and "How aware are the characters of the camera? Are the cameras hidden for this shot? Is it a spy shot from far away? Or is it really close and in their face, and they sort of have to play to it in an embarrassing situation?" There's a whole other level of questions and choices that come into play on our show that are not even a factor in anything else.
Where we shot in India, you could literally dump the camera off the back of the truck and you'd have an amazing shot.
[when asked about what he was most thankful about]: Being alive. After heart surgery, you dig that part. Breath, family and friends are just amazing. Just to have a second shot is pretty great!
What's actually amazing is that, after a couple of years of living with characters and writing characters and talking about characters, as we sit in the writers room and break episodes, it strikes you, every once in awhile, that you're talking about a character that's played by the same actor, who you've been talking about forever. We talk about a character dying, so you get emotional, and then you realize, "Oh, but wait, that actor is still on the show."
My favorite films left the camera rest, and the actors and characters have a stage to act. Move the camera when it's motivating.
Everything about camera movement, about how film was made, shot architecture, and time management... I was horrible at all that.
Whether I'm performing or directing, I'm aways thinking about rhythm; sometimes it's nailing the right rhythm, and sometimes it's intentionally breaking the rhythm. Those two things are what make something funny or not. How long a shot is and where you put the camera are all part of that rhythm of directing.
I'm an actor that loves to eat on camera. I love it. Something about the act of eating means that you actually can't act as much. You have to be involved in the very real task of trying to ingest sustenance without choking and dying. Something about that process takes the heat off trying to act and often feels more natural.
I think what's exciting about doing it as found footage - if we all are being honest, found footage gets a little bit of a bad rap sometimes, but I think that there's a lot of potential in the medium in taking it seriously and in treating the audience with respect and in treating the characters with respect in terms of, why is the camera really on? Where would the camera be when it is on?
When I'm editing, it's such a tough call, and I get challenged on it all the time. You've got to go with your gut - sometimes when you look at a photograph, you just know it's the shot. Sometimes it's about the connection, or about the simplicity of the composition.
How I wished I'd have had a camera of my own, a mad mental camera that could register pictorial shots, of the photographic artist himself prowling about for his ultimate shot - an epic in itself. (On the road with Robert Frank, 1958)
I always knew I wanted to act but I was really afraid to desire something that seemed so unrealistic and a long shot. I was a kid memorizing entire movies and TV episodes but I didn't take it seriously until I was about 19. Then I moved to New York and took it head on.
Silence Of The Lambs? is a ?fantastic? film. It's a horror film, and it's an incredibly well-told film that is about point of view in such a unique way. The way that film is shot, the way the eyelines are so close, if not directly into camera, betrays an intimacy with the characters and the audience.
I think a shot can actually influence a scene in a huge way. For example, comedy is always better in a two-shot. What's between the characters is what's funny. So you learn about these things as you go along.
A camera is a camera, a shot is a shot, how you tell the story is the main thing.
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