A Quote by Jean-Marc Vallee
I love those films where I feel the director's confidence - where he doesn't need to overdo it with the shots and the cuts.
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I build confidence when I practice a variety of shots - hitting it high or low, working the ball. A lot of golfers go to the range and just hit full shots. That doesn't build on-course confidence, because you won't always hit full shots out there. My confidence is built on knowing I can effectively work the ball in any circumstance.
I think when you pay attention to the shots, you're aware of the fact that there's a director. Really, it's the director's job to disappear and allow the movie to just feel.
The air strikes are important [to fight ISIS], but we need to have an air force capable of it. And because of the budget cuts we are facing in this country, we are going to be left with the oldest and the smallest Air Force we have ever had. We have to reverse those cuts, in addition to the cuts to our Navy and in addition to the cuts to our Army, as well.
Films are not mathematics - that's the first thing you need to understand. At least, that's how I feel. They are not words on paper. Films are made with people, with teams and with individual bundles of creativity coming together to fulfill the vision of an individual who is the director of the film.
I love making films, and as long as I love the subject, I just have a crazy amount of passion and energy for the project. The project that influenced me the most is this cooking show I do online. I film it all myself, and I think making so many of those gave me the confidence that all I need is a camera, and I could go and do an interview. The freedom to be a filmmaker - you just need a camera.
Just someone trying to shoot in 70mm deserves the nomination, and he[Quentin Tarantino] is shooting interiors, like tight interior shots, for that matter. Obviously [Quentin] is the director and demanding the shots, but all credit for the beauty of that film [Hateful Eight] goes to the director of photography.
On 'Y Tu Mama Tambien,' we started exploring shots that are longer, where the camera is moving around the actors, and there are no cuts, and you feel like you're there.
I love films. I love fiction films, too. I do. I love making them, but it has to be the right one. Hopefully, I'll never become a director for hire. It's horrible to make a film that you're not really interested in.
Making the tough shots and leaning in a certain way and a fadeaway and stuff like that, those are tough shots, but those are shots you have to learn to make in this league.
I love the variety of films. In theater, you go into a room and the director runs the room, so you all work to his or her method. On film, if an actor or an actress is in for a day or two, the director has to get out of that actor what they need, so they have to change and adapt to that actor's technique.
When I feel that confidence to do my best shots, I know I can be dangerous for all the guys.
I love films that take place over a short period of time, and I feel that those films are in our cinematic DNA.
We shouldn't be undermining Medicare for those who need it most in order to give more tax cuts to those who need them least.
When I just write something, it's usually because I love it, I love the material, but I feel like I really need a creative partner to crack it. And I certainly need and have a lot of creative partners as a director.
I want to see prison numbers come down. We need better custody that cuts reoffending and crime. And we need to ensure judges, magistrates and the public have full confidence in the other penalties available.
They seem much rarer now, those auteur films that come out of a director's imagination and are elliptical and hermetic. All those films that got me into independent cinema when I was watching it seem thin on the ground.
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