A Quote by Ben Affleck

I don't go back and look at the monitor between every take; I wait until I feel like we finally got it right: "Let me stop and look at that last one on the monitor." — © Ben Affleck
I don't go back and look at the monitor between every take; I wait until I feel like we finally got it right: "Let me stop and look at that last one on the monitor."
It was so hard to watch myself back because whatever movie I do, I never look at the monitor. I hate looking at the monitor.
I never go to the monitor. I just look at the camera monitor and my favorite part of all of the directing, except for the writing and editing of it, is right when we're rolling and they do lines and I'll say "Try this, try this, try this."
Every time I look through the lens with Denzel, I'm like a 12-year-old kid. It's hard for me to look at the monitor because the fun is in watching him.
Unfortunately, I am very aware of editing and I look at the monitor too much. Sometimes the monitor can become your worst enemy because you can, consciously or unconsciously, start editing yourself.
I have an ear monitor to block outside noise when I'm performing. It makes it easier. But sometimes I like to take the ear monitor off and listen to the craziness going on.
Wow, monitor lizards are pretty gnarly creatures. I want to go with the monitor lizard. That's just weird enough to be true. No?
I noticed you could monitor the recording that you're making, but you could also monitor the playback head. There's a little distance between them and so you get an echo, right? If you change the amplitude of, say, the playback and play with that, you get different qualities and different sounds. So I was very interested in that phenomenon.
You can't always say and do things and wait until the right moment, when everything is perfectly lined up. As women, I feel like we do that. I just see so many women take the back seat and wait until the right opportunity, and when you do that, you miss out on the best things.
I look at technology a lot because I feel like it's something we've got to stop and question, ya know? Right now it's sort of running ahead unabated and I feel like we've got to look at it and say 'Ok, I've gained all of these conveniences, but what did I lose?' And that to me is all part of the same idea of man-made work. We literally worship the things that we've made with our own hands. That's as old as mankind, that problem.
You get some directors, and I can never understand it - there's a thing they call the 'video village' where all the monitors are, and you've probably seen it on set visits - I hate that! I never, ever like sitting in video village. I get either my own monitor or a hand held monitor, and I stand right by the camera.
You don't tell a player you can't monitor your investments for a month. There's no way you're going to have a billion-dollar investment and never fail to monitor it for a period of time.
By the time I got to set for 'Cobra,' I think I'd lost about 28 pounds in about a month and a half. I didn't want to look back and be like, 'Wow, someone should stop eating PB and J's.' Like, if I'm going to look back when I'm 80, I wanted to be like, 'Wow, okay, I looked pretty fit. I used my youth right.'
You look beautiful sitting there spitting at me like a she-cat. All I have to do is look at you, and I lust. I'm going to take you back to the hotel and take off that delectable dress and make love to you until you don't have the energy to be mad at me anymore." Ian Connelly, Marquis of Derne
I don't like working by a monitor. I stand right next to the camera, and I'm very performance-oriented. That really means everything to me, whether it's doing an improv of a joke or an emotional scene, and everything in between.
I think we have to monitor our minds the way we need to monitor our bodies.
If you are able to see on a monitor what it's actually going to look like and have that kind of feedback informing your decisions, then you're bringing back a lot of the decision-making process of the designer, the director of photography and the director away from the post-production process and bringing it back into the actual capturing of the event on film.
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