A Quote by Hayao Miyazaki

When a man is shooting a handgun, it's just like he is shooting because that's his job, and he has no other choice. It's no good. When a girl is shooting a handgun, it's really something.
It becomes a lot better for the actors when we're 'shooting, shooting, shooting,' instead of waiting around in a trailer for something to happen.
The shooting of the guns, that was kind of funny, because rolling a cigarette and shooting a gun aren't like normal things for a 13-year old girl!
While shooting in Patiala, I never felt as if I was shooting here for first time, such was the love I got from the locals and Punjabi actors shooting with me.
I've had mental errors before while not shooting the ball well and while shooting the ball well, and vice versa. So I can't compound one on top of the other. It's just a matter of getting out of the groove of shooting bad and just staying more locked in.
I think some people get just locked into 'this is the way it has to be,' and they're afraid of messing something up. I don't ever want to be that way with shooting or with anything, really - not just shooting.
I was at a Madonna show many, many years ago and I was in the sweet spot and she came out and I mean it was the best part of the show. And I was shooting, shooting, shooting, shooting. And I'm like, "God, I must have shot a hundred pictures have I not run out of film?" And I opened the back of my camera and there was no film in there. So that happened to me only once.
Shooting a fight is like shooting any other scene. You have to tell a story using a very specific choreography.
Shooting at Quentin Tarantino movie was like a masterclass in directing. Although I went back literally right into rehearsal, started shooting... while I was doing it I had to write my Grindhouse trailer and I added two days of shooting. My brother was producing Hostel and the Grindhouse trailer and I was like: "Gabe, just figure this out!"
If you are using a digital camera specifically for that reason you have in mind from the beginning, then yeah, it'll work. But like if you're just shooting a normal film and just kind of just shooting extra stuff because you can because you've got the memory space, it's a bit pointless.
Oh, yeah - I could see myself as a catch and shooter, come off curls and shooting. I really feel good about shooting the ball.
I like shooting movies in Thailand very much because the government is so cooperative there. The police help you to close the roads for shooting.
Every year is Super Bowl or bust, really. If you ain't shooting for the Super Bowl... I mean, I guess if you're the Browns, you're shooting for a win. Or a few wins, at least. But everybody else, you gotta be shooting for the Super Bowl.
Literally, people probably came up with a budget and said, 'It'll be cheaper if we cut down the prep,' but it's not cheaper, because then you're shooting, you're fumbling through the movie and you are prepping at three times the cost because you're quadruple-time as you're shooting and then prepping after you're done shooting.
I can easily say "no" to a project if the script isn't great, but when the script is good, then I start asking the other questions. Who's going to direct it? Who's the creator? Who are the actors? When are we shooting? Where is it shooting? All that kind of stuff.
Shooting on the street in Brazil - compared to people trying to sneak a picture of something, if you're shooting in the States or Canada - people would literally just try to grab you.
Sometimes a director is making three films. Perhaps he is shooting a film in Madras and a film in Bombay and he can't leave Madras as some shooting has to be done, so he directs by telephone. The shooting takes place. On schedule.
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