A Quote by Anurag Kashyap
I shoot reality-based movies, and in actual locations, shooting them with a star is next to impossible.
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I try not to tell students where to shoot, when to shoot, or what to shoot. I feel finding the picture is the most important part of being a photographer. The actual shooting is of lesser importance.
I never shoot my movies like I'm shooting 'a horror movie,' I shoot them like dramas. Dramas and then something horrible happens.
I love the digital camera because it makes shooting easier and economical. I shoot fast, and I can shoot a lot. I shoot rehearsal; I just keep on shooting nonstop.
Shooting a horror story with kids, I always explain really simply. They may be scary to watch, but they're a lot of fun to shoot. You know, the kids have a great time shooting these movies. Whether you let them watch it is another matter.
The way I work with my cinematographer is not based on general principles, but the ideas are triggered by the locations where we shoot.
I like to consider myself a star - a star, that when you look in the sky, it's always there. And on a clear night... a shooting star comes by, and get a little thrill, and you make a little wish. You need both types of stars, the shooting and the constant stars. The heavens include them all.
Shooting against greenscreen... my choice of filming is, like, I'd rather shoot on location than shoot on a set, and I'd rather shoot on a set than shoot against greenscreen. You start stripping away the layers of reality, and it becomes a lot less fun to actually film.
I was constantly shooting. Sometimes I would shoot through the night and in the morning go to my next shoot without any sleep or just two hours of sleep.
If you're doing movies on a set... many times, I've shot the end of a movie in the first week of shooting. Because of locations or budgets or actors' availability.
The important bit for an actor is the actual shooting of it, because the minute the shoot ends, it's got nothing to do with you anymore.
I've been shooting movies and television shows for now 47 years and I've worked with the best of them and [Kirk Douglas] is the only movie star I ever met.
Maybe the next three Star Wars movies will tell the story of how the last three Star Wars movies got so shitty.
I do extensive storyboards so people can get a sense of what we're doing, and what the attitude and tone is. I work a lot with the actors. I like to go to sets or locations with them before shooting so that they know what they'll be doing on the day. I have found actors really do like to know about blocking, etc., before the shoot day comes.
Behind The Curtain of the Night is a life after death movie and it is based on a best-selling novel in the Czech Republic. It is a true story, and together with director Dalibor Stach, producers Milan Friedrich and Phil Goldfine, we were able to bring such a meaningful, important, and powerful story onto the big screen. We were so blessed that we got to shoot in the best historical locations throughout the entire Czech Republic from Prague to Karlovy Vary and many other important locations.
You do need to edit yourself as you shoot because you have fewer options in a smaller movie. In other words, when I'm shooting a big movie, and I got an 85 day shooting schedule or more, then I'm saying I have enough time to shoot option A and B and C and D for every scene.
It's so much harder to recreate something than it is to shoot at the actual place. It's not without its problems. You've got a lot of bystanders and security issues, but it's always a lot easier and a lot more fun to shoot at the actual location.
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