A Quote by Douglas Booth
Obviously, you never shoot the scenes of a film in order or only very rarely.
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It's never the practice to shoot the scenes in the proper order. Sometimes you shoot the final scenes of a film before you've even started the beginning. So you get good at it because you have to sort of just eliminate the memories of something you've done as an actor, which you haven't done as the character yet. But it sometimes is a bit of a mind-f**k.
I often found that my favorite scene that I shoot is often one that I cut out, like in 'The Last Castle' and 'The Contender.' If you look at the deleted scenes, some of the best scenes never made it into the film.
The shooting of 'Nadunisai Naigal' started at 7 in the evening and ended by 4 in the morning. Physically too, it was a very demanding film as I have a lot of action scenes. I had to run, roll in the mud and was chased by dogs. It was not an easy film to shoot.
When you're working on a novel, you never think about how much it would cost to shoot one of your scenes. But that's a huge consideration in film and TV.
The biggest difference for me is momentum. On a smaller film you get to shoot sometimes four or five scenes a day and you've got to do the tight schedule. I think I really feel the luxuries of a big budget film.
There's never enough time to shoot battle scenes or fight scenes. It always feels rushed. Anytime horses are involved, it eats up time like crazy.
I may find myself changing my notions about what I want to do right in the middle of a film. And on days when I'm feeling merry, I shoot merry scenes, and on gloomy days, I shoot gloomy ones.
I came back to Haiti after the earthquake not to shoot a film, but to help and be a part of the rebuilding process, like all my fellow compatriots. I didn't come to shoot a film, but I became frustrated when I realized that my help was kind of useless. We all felt lost and helpless. And it's out of that frustration that I decided to shoot a film.
Shoot a few scenes out of focus. I want to win the foreign film award.
I like the idea of having a film that is choreographic in all its aspects, not only in the dancing scenes, but also in the way the camera and the characters move in order to have that feeling that it's always musical.
Even for the most difficult scenes, and there are difficult scenes in the film, and because Michael Haneke is such a great film-maker - I think a great film-maker is not only being inspired, but how to do it, how to make it as real as possible, knowing that it's not real.
When I am shooting a film I never think of how I want to shoot something; I simply shoot it.
Somebody comes to your house. You know they're coming, so it's not a surprise. And they give you an envelope that has your scenes in it. And they sit in the car outside for a half an hour while you read your scenes, then they ring your doorbell and you give your scenes back. Then you shoot the movie a few weeks later or something. The next time you see your scenes is the night before you start shooting. I never read the script [Blue Jasmine], so I didn't really know what it was about.
In orthodox film-making, you never shoot sequentially - but with improv, obviously every move you make has a knock-on effect; it is a cumulative process. I have improvised, on the non-scripted 'Timecode.' It can become entirely indulgent: actors smashing crockery and competing verbally.
The template that 'Infinity War' is following is a very different, complex template because you've never seen so many characters in one film. It obviously has to be a multi-perspective film.
In any movie, there are a number of scenes that get cut in an effort to keep the film from running too long. Some are of little consequence, but others are important scenes that are very painful to lose.
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