A Quote by Anne Stuart
Who shot you?" For a moment he looked annoyed. "I fail to see what that's got to do with anything. Reading assures me that anyone who's ever met me would have reason to shoot me, so I must admit with all candor that I have no idea. Was it you?" "If I'd shot you I wouldn't have missed," she said. "Was that wishful thinking or are you in fact a practiced shot?" "Desire would have made up for lack of expertise.
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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.
Yeah, I like that idea. Maybe he'll shoot at us again. I was hoping someone would shoot at me today. That was the first thing I said when I got up: Boy, I hope I get shot at today.
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.
It’s been me all along,” said September slowly. “Me who gave up my shadow, me who went down into Fairyland-Below and Fairyland-Lower-Than-That to wake up the Prince. Me who shot the poor Minotaur. You oughtn’t just hand the whole business over the moment a Prince comes on the scene. I’ve got to see it through, don’t you see? The Hollow Queen is hollow because she’s missing the part of her that’s me. We’ve got to come together again. And he can’t do a thing about that.
When I got shot I wasn't like 'yes' I got shot, now I can say that in my raps, when I got shot I said 'ouch'.
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.
I knew that they were going to be reading actors for Manute, and I wanted to give it a shot. I wanted a shot to do it, and they embraced that and said, "All right, come on in. Let's see what you've got." So, I went in, and the rest is history. It felt good when I went into the office, and it just worked.
The philosophy I always have is what's the sentence that would tell me about each shot. If I can't read why the shot's there, what is the story trying to say?
So I tried to get my shot with a 50mm and I did it - this is when we're shooting film, not digital. The guy that hired me looked through the pictures and was like, "Oh, this is pretty good. You did a good job." And I was like, "Yeah, I'm sorry. I only had a 50mm. My girlfriend rented the wrong lens..." and he stopped looking at the pictures and he looked up at me and he said, "You shot this with a 50mm? You're hired."
My mom got shot. My dad got shot. Some of the craziest stuff. All that happened to me.
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.
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.
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.
[Keeping Up with the Joneses] is not one of those movies where people get shot and fall down and there's no reality of what would happen if you got shot and knocked over a motorcycle. It's meant to be a slight comedy in that sense.
By the time I got to 'St Vincent,' I had shot so many scenarios I was ready for anything - I've shot kangaroos, I've shot dogs, cats, crowds, fight scenes, stunts, comedy, drama, handheld, dolly, helicopter, crane - I just felt that there was nothing I was unprepared for.
I was watching Monster's Ball, which is a fabulous movie. It's just a little gem: beautifully shot, and shot in a way I never would have done. It made me feel very old, really, because it wasn't eccentric for its own sake, it was just very original.
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