A Quote by Jason Reitman
When you make a movie, you do it so piecemeal. You're doing it, not only scene by scene, out of order, but shot by shot, line by line. And there's this idea that the director has the whole thing in his or her head and they're going to somehow weave it all together in the end.
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I think one of the things you have to be aware of as an actor is that if you come on the set and see the director standing there mouthing all the words while a scene is going on, that's usually a very bad sign because it means the director has already shot the scene in his head. He knows exactly the rhythm and the nuances that he wants delivered in the line and you're not going to dissuade him.
I come from a TV background, so for me this more like doing a freeing theatre piece because we'd go into a room and do the scene, instead of doing it as a wide shot, medium shot, and close up with only the odd line of dialogue.
All my cuts are always about three hours, at the start, mainly because any scene in the movie that's 90 seconds, I probably shot a five-minute version of. If you just extrapolate that through the whole movie, I have a very long version of every scene, usually because, if there's one funny joke, I'll shoot five because I don't know if the one I like is going to work. I'll get back-ups because my biggest fear is to be in previews, testing the movie, and a joke doesn't work, but I have no way to fix it because I have no other line.
If you do an original film and you want to cut a scene out you do it. But when you do a shot by shot remake you don't have that option and every scene has to work again.
I like letting takes play out, beginning to end. I don't like doing pick-ups of one line or another. I like letting the actors discover the flow of the scene, inside the scene as a whole.
The running across the field thing, that was the first scene we shot in the movie. We asked the audience to stay for the scene, and 37,000 people stayed.
The most I've ever done was twenty-something, but that's wasn't because I wanted to. I feel like to me it's usually somewhere between two and- no, it's very hard to say because it really depends up on the shot, you know? If it's a complicated master shot and you know that this is the only thing that you're doing for that scene, a complicated one-er, you're going to maybe end up doing a few more takes than you normally would. But I'm not a big believer in doing tons and tons and tons of takes.
When I'm working on the scripts or working with the other actors or rehearsing with the director, and when the director is cutting the movie, and we've shot the scene, the director is not looking at the visual effects.
The storyboard artists job is to plan out shot for shot the whole show, write all the dialog, and decide the mood, action, jokes, pacing, etc of every scene.
A great discipline comes with knowing that everyone's very focused. I've never shot a scene thinking, I wonder if this will make it. Every scene I shoot, I know that it's going to make it into the final cut.
You need to understand the batsman, where he plays his shot usually, which is his release shot, and then change the angle, vary the pace, line and length. You cannot always react after being at the receiving end.
The first scene I ever appeared in, it was the first scene I ever shot [during my] first day on set. I walk up to my mom with a plastic bag over my head and she says that her clothes better not be on the floor, not that a plastic bag is not a safety hazard or anything. I think it's a really cute scene and also just a very vivid memory.
The Ramones were a great bunch of guys. They were very quiet, very shy. They were a little in awe of the filmmaking process, probably because we started at 7 a.m. I do remember the very first day of shooting, I met them and did the scene in the bedroom where Joey sings to me, and they were all scattered around my bedroom in my little fantasy scene. That was the first scene we shot of the movie. That scene is kind of a strange way to start a movie. "Okay, get undressed, and these weird guys in leather jackets and ripped jeans are going to sing to you."
I like to imagine that all the choices you make during the day that you're doing a particular scene are going to feed into the creation of that scene. It's not a movie-by-movie or a part-by-part basis. It's a day-by-day thing, and sometimes an hour-by-hour thing.
Each character has their own challenges. The challenge to doing one scene is your whole history of who you are and your relationships, you only have this one shot.
When you're doing a live-action movie, you have your day set up and you're going to do this shot and this shot, and eventually the sun is going to go down. It's a sequential race to whatever is going to end the day.
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