A Quote by George A. Romero
I've seen so many young filmmakers - even professional filmmakers who get a Hollywood deal - they don't quite know where to begin, where to end, and they'll waste a lot of time making this perfect shot, an establishing shot, and then there's no time left to shoot the dialogue.
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Most folks here got rules 'bout trespassing. Warning shot's fired right close to the head. Get they's attention. Next shot gets a lot more personal. Now I'm too old to waste time firing a warning shot.
Nobody really truly supporting independent filmmakers anymore. It's just dire. There's a lot of bad filmmaking, and there's a lot of people worshipping some terrible filmmakers. It's a waste of all of our time, if you don't feel anything. We are an age of YouTube kids. We don't care so much anymore. It's all about marketing.
A lot of first-time filmmakers are almost apologizing for their movie by saying, 'Well, we only had 18 days to shoot, you know.'
A lot of first-time filmmakers are almost apologizing for their movie by saying, Well, we only had 18 days to shoot, you know.
The time to hurry is in between shots. It's not over the shot. It's timing how people walk. You have to add that to the equation. If you've got somebody walking slow and they get up to the shot and take their 20 seconds, what's the aggregate time for them to hit that shot in between shots? That's what really matters. It's not the shot at hand.
The filmmakers are very much in their own kind of bubble. It was kind of a revelation to me and I realized why so many of the great filmmakers are one of a kind people. You know, they have a vision. They may be influenced by other filmmakers, but they don't work with them on anything.
Filmmakers are always in a bubble; along with our crew or writer, we don't really get to socialize with other filmmakers, so the great thing about Sundance is you can see many other filmmakers doing the same thing you do.
If I'm ever working on a set and anyone talks about a master shot, I say there is no master shot. Before I even went to film school, I learned about movies by being in a British feature film, where everything was shot master shot, mid-shot, close-up. But I reject the idea of a master shot. You don't shoot everything mechanically; you find imaginative ways that serve the action.
Even before the economic crisis in Greece there was no structure for making films - no proper industry, and the structure didn't help filmmakers at all. So filmmakers had to help each other, and make very, very low-budget films. Now with the crisis, things got a bit worse, but filmmakers are still going to be making films. It didn't change that much.
I shot 'Blue Valentine' on 16mm for the past, and for the present on the Red Camera. I feel that both formats are valid. The stories should dictate the format we shoot on. Filmmakers should have a choice.
When I came into the NBA, coaches wanted you to shoot a midrange shot or two before you shot your 3 - you know, to get an 'easy one' first.
I know many filmmakers, and shooting in IMAX is challenging. Filmmakers love the vividness and power of those big images.
Reading what a good shot is, based on time and score of the game, based on the shot clock, based on my position - there's a lot of things that go into it. It's a lot of things that you think about based on when to shoot it or when not to.
When you're working with a script and you have three pages for that day, you have to shoot that. It can become sort of like a prison, because by the time you've shot what you need to shoot, you don't really have time to think or shoot anything else.
A lot of these young girls, they dont even know what the game is about. They have never seen a drop shot, a slice and all the mixture and variety I have.
It will be very exciting to watch how the industry responds to filmmakers getting closer and closer to their audiences - and they must, as for too long it has been quite impossible for filmmakers to actually get anywhere near to revenues arising from their work. Too many middlemen!
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