A Quote by Haskell Wexler
I've been in wars and in riots and hung out of many helicopters in the early days. And there's a detachment that happens when you look through the camera. You're looking for the shot.
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No matter how many helicopters there are, when it comes down to it there is the camera and you.
How did I end up right here wit you after all the things that I been through. It's been one of those days you try and forget about take a shot and let it out.
In fact, it was stated early in the first Bush [presidency], Bush I, in one of their documents they pointed out in the future, US wars are going to be against much weaker enemies. And they have to be won quickly and decisively before a popular reaction develops. And Iif you take a look, that's what's done. Look at Panama, for instance, over a couple of days; and Kosovo, no American troops.
When the photographer is nearby, I like to say, 'Quick, get a photo of me looking into the camera,' because I'm never looking into the camera. Christopher Nolan looks into the camera, but I think most directors don't, so whenever you see a picture of a director looking at the camera, it's fake.
A good trick I learnt early on is not to immediately look at playback because once you know the shot, you can see when the camera is on you. It's best to stay 'in it' all the time, and just if it's on you, it's on you, and if it's not, it's not. It's the easiest way.
I'm looking for a charismatic character - somebody who you just want to look at and listen to and whom the camera likes. I'm also looking for a narrative arc: Something is going to happen, and there will be a question that will make you wonder what happens at the end.
In this era of non-judgmental mush, too many Americans have become incapable of facing the brutal reality of unprovoked hatred, based on envy, resentment and ultimately on a vicious urge to lash out against others for the pain of ones own insignificance. That has been a common thread in things as disparate as ghetto riots, two world wars, and now Islamic terrorism.
In the early days of my child labor activities I was an investigator with a camera attachment... but the emphasis became reversed until the camera stole the whole show.
Sociologists and historians have avoided looking for the family sources of wars and social violence. Whenever a group produces murderers, the early parental relationship must have been abusive and neglectful. Yet this elementary truth has not even begun to be considered in historical research; just stating that poor mothering lies behind wars seems blasphemous.
I've been told that no one knows what happens in the future on 'Game of Thrones.' To my knowledge, I've shot one episode. So I'm as excited as anyone else to find out what happens.
The ending shot of 'Queen Christina' with Greta Garbo is amazing. She's at the head of the ship, and she's been through so much, and the camera gets so close to her face. That really sticks out for me.
Before the days of video village a director should stand right next to the camera, look with his naked eye and if he sees something that is real to him, he'd look up at the [camera] operator and if he gives the look to indicate he'd seen it to, then you print and you'd move on.
I am guilty of believing that the human race can be humanized and enriched in every spiritual inference through the saner and more beneficent processes of peaceful persuasion applied to material problems rather than through wars, riots and bloodshed.
Maybe if I'd gone in younger, I wouldn't have had that feeling, but I've seen an enormous amount of changes since the early-'70s in how this stuff is shot. I did the first TV movie ever shot in 18 days; before this film the normal length of shooting a TV movie was between 21 and 26 days. We shot a full-up, two-hour TV movie in 18 days with Donald Sutherland playing the lead, who had never worked on television before.
I learned something very important early on: You accept what happens and move on. In other words, if I hit a bad shot, I can't change it. There is only the next shot. That was a big lesson.
I did Phone Booth, and that was shot very, very quickly, but that was Joel Schumacher, who's shot so many movies that, if anybody can figure out how to do it in a couple of days, it's him.
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