A Quote by Debbie Allen
I design my shots. I walk the rehearsal as the camera and say 'this is where I want to be... I want this look.
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In the age of camera phones and screenshots and Twitter.... At the end of the day, I want to share my life with somebody, you know? I want picture albums. I want to look back at our time together. And I also want kids. And if you want kids, then you want marriage.
I'm at the top, top, top of my game now. I'm so happy to be on that stage, I'm in control of it, and I love every minute of it. I walk onstage in rehearsal and I start to smile. And so I just don't care what anyone else is doing. Do what you want, say what you want. Nobody else can do what I do onstage. Nobody.
Sometimes when I walk into one of my own stores, I look at the display and say, "This looks so good - I want to buy it." Yet other times I walk in and the displays and mannequins will be all wrong, and I don't want to buy anything. When a customer walks into a store, she's looking for inspiration. So I'm tuned in to people, and I care about what they need and who they are.
Usually I design the lighting and when I have the physical set there, I'm not good at going out loosely and saying, 'Do you what you want, give it to the editor, and he'll figure it out.' I physically then walk on with the actors and I say, 'Let's walk until you guys feel the space works for you, and tell me when all that happens.'
Usually I design the lighting and when I have the physical set there, I'm not good at going out loosely and saying, 'Do you what you want, give it to the editor, and he'll figure it out.' I physically then walk on with the actors and I say, 'Let's walk until you guys feel the space works for you, and tell me when all that happens.
I am tired, I want to go home. I want to continue my art work, I want to plant a garden, I want to walk in the forest, I want to walk in the fields, I just want to lie down on the grass and feel the sun against my skin. I want to be able to hold my family close to me and not have someone tell me time's up.
What I say goes. I'm hitting shots that I want to hit. I'm doing the things that I want to do. I play it my way.
I love just seeing shots of New York inside of a fictional movie that are not controlled. I do not like shots with extras, I have to say. I don't mind extras in other scenes, but I love New York City streets just as they look. I don't even care if someone looks at the camera. It doesn't bother me.
Performance shots are a waste of time, they look like everyone else's. If you want to shoot a performer, then grab them, own them, you have to own people, then twist them into what you want to say about them.
Language designers want to design the perfect language. They want to be able to say, 'My language is perfect. It can do everything.' But it's just plain impossible to design a perfect language, because there are two ways to look at a language. One way is by looking at what can be done with that language. The other is by looking at how we feel using that language-how we feel while programming.
If a bout of "creepy face" sets in, the trick is to look away from the camera between shots and turn back only when necessary. This also limits how much of your soul the camera can steal.
You want to take shots you practice thousands and thousands of times. You want to take those same shots in games. The easier you can find those shots, the better.
I say that to my colleagues, by the way, in the internal Cabinet meetings, I say, 'Look, I want to be very clear about what I want.' I just - I don't want a peace process, I want a peace result.
I want my music to be a contribution, and I want the people who love me on Earth and in Heaven to be proud of who I am, and I want to be proud of myself, and I don't want to look back and say, 'Oh God, why did I say that?'
If I want to make people moved or cry in a film, I figure out what the room looks like, what the people are wearing, what time of day it is, what the light is, how to photograph it, where to put the camera. It involves optics and costume design and set design and architecture.
You want to look at what other companies are doing. It's very important not to be hermetically sealed. But you don't want to look at it as if, 'OK, we're going to copy that.' You want to look at it and say, 'That's very interesting. What can we be inspired to do as a result of that?' And then put your own unique twist on it.
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