A Quote by David Leitch
Shooting a fight is like shooting any other scene. You have to tell a story using a very specific choreography.
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When a man is shooting a handgun, it's just like he is shooting because that's his job, and he has no other choice. It's no good. When a girl is shooting a handgun, it's really something.
I shoot very little film. If you just do coverage you're shooting any number of potential films instead of just one, and I was shooting just one specific film. Film is cheap but time is expensive.
Like I tell myself all the time, you have to keep shooting. I'm not going to stop shooting.
I'd never really shot action scenes before, but I realized early on that is very much like shooting choreography and dance.
Making a mistake means overshooting a scene, shooting too many takes, for instance. Long after you've got it, you just keep shooting.
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.
I like shooting movies in Thailand very much because the government is so cooperative there. The police help you to close the roads for shooting.
I was shooting Beyond Redemption, I started shooting American Horror Story, so I was going back and forth between Northern California and LA. That was not bad at all - that flight is like getting on the subway, it's nothing. And then during rehearsals.
It becomes a lot better for the actors when we're 'shooting, shooting, shooting,' instead of waiting around in a trailer for something to happen.
While shooting in Patiala, I never felt as if I was shooting here for first time, such was the love I got from the locals and Punjabi actors shooting with me.
I was at a Madonna show many, many years ago and I was in the sweet spot and she came out and I mean it was the best part of the show. And I was shooting, shooting, shooting, shooting. And I'm like, "God, I must have shot a hundred pictures have I not run out of film?" And I opened the back of my camera and there was no film in there. So that happened to me only once.
I get very close to people when I'm shooting them. We would go and shoot a scene with Lucy, and I would spend the whole time telling her about Rob. Then I would go shoot a scene with Rob and tell him all about Lucy. Eventually they wanted to know each other. These are two people who would never have overlapped in any other way or context. We brought to the garden at Rob's office and just sat and watched what unfolded. I remember weeping behind the camera, because I was so moved by the way they connected.
Having worked with Sarah Paulson on 'American Horror Story: Hotel' and seeing the lengths she goes to when shooting a scene, you go, 'Oh, so that's what this is going to be like.'
When I was in Vietnam with Jane Fonda, I was shooting a farmer in a field - just a pastoral scene. And while I was shooting him, an explosion occurred right - he blew up right in my lens, so to speak. And he had stepped on a landmine.
If you are using a digital camera specifically for that reason you have in mind from the beginning, then yeah, it'll work. But like if you're just shooting a normal film and just kind of just shooting extra stuff because you can because you've got the memory space, it's a bit pointless.
Shooting on film is great because it imparts discipline: What do you need to see so you're not finding it in the camera. When I'm shooting, I have the scene in mind, where I'm going to have certain lines. I learned to overlap and to shoot more than I think I need. That was the learning curve.
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