A Quote by Bruce Beresford

Film is shot in fragments, and the same moments can be shot again and again until the director is satisfied. — © Bruce Beresford
Film is shot in fragments, and the same moments can be shot again and again until the director is satisfied.
To decide to film a movie again shot by shot, you must be masochistic to a certain degree because it is a much greater challenge.
I never start editing a film until it's completely shot; I don't edit along the way, ever. When it's finished I come in here [screening room] and we start with reel one, scene one and start editing shot by shot by shot until we're finished.
If you do an original film and you want to cut a scene out you do it. But when you do a shot by shot remake you don't have that option and every scene has to work again.
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.
Even if I do miss a shot, I'm going to be comfortable to get back up there and shoot the same shot again. Make or miss, I'm not going to be frustrated but move on to the next play.
The stressful thing about being an actor is, like, you have to kind of audition again and again and again, you know? You go in one time, and you go in again for a director and then again for producers and then again and again and again.
Moviemaking is a time machine: narrative spliced into fragments and reassembled into a constant present, the end of a story shot before the beginning, which is shot after the middle.
I shot film with the Coen brothers on 'Hail, Caesar!' That's fine. I'm sentimental about film; I've shot film for forty years or something.
I don't know how many lions and leopards I've shot. I've shot two elephants, which was enough - never again. It's a melancholy and moving thing to hunt an elephant. It's like shooting an old man.
I am satisfied with the dissatisfaction that never rests until it is satisfied and satisfied again.
To be one of the special ones, you've got to want to take that shot-you've also got to be willing to fail, learn from it, come back and take that shot again.
I'm very interested in film making. It's telling a story, fiction or non-fiction. I have been filmed quite a lot. Contrary to popular belief, filming isn't glamorous. It can be wearingly repetitious, as the same shot is taken over and over again.
[Ecstasy] had its flaws, but again it was shot on a low budget, and they did well. It's not in the same league as Filth.
I'd like [Santa Claus] to give Wes Anderson, the director, enough money in his next budget for an aerial shot - just a little copter shot. He really wanted this one helicopter shot, and Disney wouldn't give him the money. Just wouldn't give him the money. Every day, he was talking to the studio about this helicopter shot.
Gymnastics, you get one shot; acting, it's like, do it again, do it again, do it again. So that was the one thing that I found very different. You're allowed to get different tries and you're more expressive in a way when you're working with people. In gymnastics, you're so on your own and individual.
So many films are being shot on the DSLR, that they're all starting to look the same. There's a shallow depth of field. It's a nice look, but I can always identify a film shot with a DSLR.
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