A Quote by Geoffrey Rush
With 'Call Me by Your Name,' they locked off the camera and let scenes play out in long, wide shots to make them feel almost voyeuristic.
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I look at like this: Any player I guard, long twos or shots like that, if they make them I still think that's good defense. You can't make those shots at a high percentage the whole game. It's just hard to make long two-pointers, step-backs, fadeaways, off-the-dribble crossovers.
To be an actor and a director, I actually felt it helped me tremendously to be in the scenes of The Hollars, because as you can see, they're very intimate, very intense scenes. You don't want to break the actor's character and you don't want to break their momentum, so as the actor, I tried not to call cut as much as I could, and almost make it feel like a play, just set this environment where these amazing actors could do what they wanted to do.
What you think is fake in your head comes off as not enough on camera, a lot of times. You almost have to overdo it, in this overly, sort of Broadway, large-gestures kind of way to come off as being realistic on camera. It's strange. You almost have to act really fake to come off looking real.
I have received the digital camera as a blessing. It has really changed my life as a filmmaker, because I don't use my camera anymore as a camera. I don't feel it as a camera. I feel it as a friend, as something that doesn't make an impression on people, that doesn't make them feel uncomfortable, and that is completely forgotten in my way of approaching life and people and film.
I feel that I can make certain shots, tough shots, and that I can play better when things aren't going well.
What kills love? Only this: Neglect. Not to see you when you stand before me. Not to think of you in the little things. Not to make the road wide for you, the table spread for you. To choose you out of habit not desire, to pass the flower seller without a thought. To leave the dishes unwashed, the bed unmade, to ignore you in the mornings, make use of you at night. To crave another while pecking your cheek. To say your name without hearing it, to assume it is mine to call.
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.
Names are still magic; even Sharon, Karen, Darren, and Warren are magic to somebody somewhere. In fairy stories, naming is knowledge. When I know your name, I can call your name, and when I call your name, you'll come to me.
I think my role, I want to have a presence both behind the scenes and in front of the camera. So I can't say on one particular thing, so I'll just name them all. I'll be the jack of all trades and hopefully decent at one of them.
I know it's not particularly tech-savvy of me to suggest a camera that doesn't have a touchscreen, but I think when it comes to candid shots of nights out with friends, there's nothing better than a disposable camera.
I prefer love scenes to be shot up close with a lot of focus on eyes and mouths. Otherwise it can feel uncomfortable and voyeuristic.
You don't know anybody is in the stands when you are out there on the field playing. You don't know what the number is or who, what, or whatever. You are playing and trying to give your best. When you are in the game you got so much going on in your head and your so attentive in listening to the quarterback call whatever shots he's going to call. Your mind is concentrated on your responsibility and what you have to do on every given play. You don't know anything else is around, but your responsibility.
When I put the camera back to my eye, I noticed a particular guardsman pointing at me. I said, "I'll get a picture of this," and his rifle went off. And almost simultaneously, as his rifle went off, a halo of dust came off a sculpture next to me, and the bullet lodged in a tree. I dropped my camera in the realization that it was live ammunition. I don't know what gave me the combination of innocence and stupidity... but I never took cover.
The name is not important anymore - it's the tone that counts. I feel like an old dog I know. He will come to any name you call him, just so long as your demeanor carries with it the promise of affection and food
For me, it's just finding ways to create shots. I feel like if I got a shot off, it has a good chance of going in. So it's finding ways of creating different shots. Being smart. I watch film a lot, and different tricks that I can do to get my shot off the ball and creating ways to get shots off of pick-and-rolls or one-on-one situations like that.
What's cool is that Oprah is the same person on stage and in front of a camera as she is off stage and behind the scenes. She speaks the same way on camera as she does off camera.
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