A Quote by Emily Hampshire

I like to shoot on location 'cause I can just immerse myself in the world of the movie. — © Emily Hampshire
I like to shoot on location 'cause I can just immerse myself in the world of the movie.
I don't like to shoot on sets at all. As much as possible, I try to shoot on location.
I do like the whole idea of going to a location to shoot a movie, and there is a start date and a finish date, and a lot of special things happen within those weeks.
I think the location is almost as important as casting the leads of the movie. The location on The Purge was crucial to that movie working.
I think the location is almost as important as casting the leads of the movie. The location on 'The Purge' was crucial to that movie working.
Shooting against greenscreen... my choice of filming is, like, I'd rather shoot on location than shoot on a set, and I'd rather shoot on a set than shoot against greenscreen. You start stripping away the layers of reality, and it becomes a lot less fun to actually film.
I have different methods. Sometimes I just like to immerse myself in music; that's a really good way to switch off from the world. I also like to listen to Eckhart Tolle, a very wise, very spiritual man, who teaches us how to live in the present.
There's a tremendous difference between alone and lonely. You could be lonely in a group of people. I like being alone. I like eating by myself. I go home at night and just watch a movie or hang out with my dog. I have to exert myself and really say, oh God, I've got to see my friends 'cause I'm too content being by myself.
In editing, you really face what the movie is. When you shoot it, you have this illusion that you're making the masterpieces that you're inspired by. But when you finally edit the movie, the movie is just a movie, so there is always a hint of disappointment, particularly when you see your first cut.
For me, I need to fully immerse myself in a script to the point where I'm literally locking myself away for weeks at a time and I just write it. So I can write twelve to fifteen hours in a day, with breaks in between, obviously, but I need to just sort of live within the world of the script.
You didn't have to go on location if you could just shoot down City Hall, LA.
Making love to a woman is like buying real estate: location, location, location.
For me, it was the challenge of doing a movie that is in one location. Usually, there are a few scripts obviously always going around with stories that happen in one location.
Being in the moment with these guys was just a profound experience every day, and when we shoot a movie it's actually a very short process, especially an independent movie like this. It was only thirty five days of shooting.
My purpose at that time was to expand my experience of the world and to immerse myself as deeply as I could in powerful events that I thought would begin to help me understand the world, and myself, in larger ways. Looking back, it's difficult to imagine my life without the Congo now.
Like, if I'm assessing someone's game and they can't shoot, they can't shoot. And they know they can't shoot. It's not like I'm making fun of them. I just keep it real, man.
There are people I'm drawn to that you just can't do a tiny, no-budget movie with. I would like to pursue some of that stuff, to see if I could do a movie with some of those people. And I don't really write scripts myself, but if I read a script I thought was really great, I would totally be up for doing a more traditional movie. It's just that I don't exist in that world. right now.
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