A Quote by Jake Gyllenhaal
To me I just, I'm a geek when it comes to cinematographers . And when it comes to Robert and when it comes to someone like Roger Deakins who shot Prisoners and he shot Jarhead.
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I think you can make a gorgeous movie on any piece of equipment. Look at 'Tangerine,' which is a beautiful movie shot on an iPhone. You see so many movies that are impeccably shot but are vapid, and there's no audience for that except for other cinematographers who just like to watch two-hour-long music videos.
He knows all the golf lingo. You know? You hit your ball, he's like "there's a golf shot. That's a golf shot." Well of course it's a golf shot; I just hit a golf ball. You don't see Gretzky skating around going "there's a hockey shot, that's a hockey shot."
I certainly wasn’t Roger Deakins, but I felt like I could be.
Every shot feels like the first shot of the day. If I'm on the range hitting shot after shot, I can hit them just as good as I did when I was 30. But out on the course, your body changes between shots. You get out of the cart, and you've got this 170-yard 5-iron over a bunker, and it goes about 138.
I mean, one shot you treat like you have forty little matches instead of one forty shot match. It makes all the difference in the world. It's easier to just forget about a not so good shot.
After college, I really looked at every single shot that I shot. Pretty much every shot in my sophomore year and my junior year and just watched my form. I watched how I shot it from 3, and I just noticed I was a very undisciplined shooter.
I'd like [Santa Claus] to give Wes Anderson, the director, enough money in his next budget for an aerial shot - just a little copter shot. He really wanted this one helicopter shot, and Disney wouldn't give him the money. Just wouldn't give him the money. Every day, he was talking to the studio about this helicopter shot.
I'm the kind of person who if I was playing the role of someone who got shot, I'd probably want to get shot so I knew what it felt like.
The major difference between the big shot and the little shot is the big shot is just a little shot who kept on shooting.
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.
There hadn't been one done since the late 70s. I was living in Brooklyn, had no connection to Roger Corman, to no one in this movie. I didn't go to film school. I'm like the person who should have never made this film. But I just decided to put one foot in front of the other. I was writing film articles for magazines at the time. I convinced an editor from one of the magazines that I was working for to give me a shot to do a piece on Roger. This was an excuse to go meet him.
How can a song all about struggling with the afterglow of fame thrust someone into fame? How can a lyric like, 'I'm just a singer who already blew his shot,' give a singer another shot? I don't know... but it's funny.
It makes me very, very happy to get someone a world title shot, which I've done with a few fighters, or a European title shot or a British title, and I see them lift that belt above their waist and they come to me and say 'Thanks Ricky. I've just paid my mortgage off with that.' That's what its all about.
It comes to the point where, if a midrange shot is there, I'm going to take it. If I'm open, I have to shoot that shot. That's a great shot for the team and myself.
A shot of Shyam Benegal inspires me a lot. I wonder why a film of David Dhawan cannot have a shot like that.
By the time I got to 'St Vincent,' I had shot so many scenarios I was ready for anything - I've shot kangaroos, I've shot dogs, cats, crowds, fight scenes, stunts, comedy, drama, handheld, dolly, helicopter, crane - I just felt that there was nothing I was unprepared for.
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