A Quote by Jennifer Sky

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.
If you film a scene in a wide shot, especially a disturbing, distressing moment, I do feel like that helps you feel as though you're the room with these people, instead of cutting it up and getting close - which you wouldn't be doing if you were actually in a room with these people.
I'm not a big fan of shooting something that looks like it could belong in any movie. I'm not a fan of, okay, 'wide shot, wide shot, medium shot, close-up, close-up - we'll figure it out in post.' I hate that.
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.
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.
I'm very interested in clans and the way people group together, and there's a lot of group shots. There's a lot of people in positions that people feel like they're in attack mode, kind of pointed at each other in the frame. I'm not a big fan of shooting something that looks like it could belong in any movie, I'm not a fan of okay, "wide shot, wide shot, medium shot, close-up, close-up, we'll figure it out in post." I hate that.
Because TV is mostly close up, it has to be fast. And because it has to be fast, you don't have time to explain completely, by a sequence shot, what's happening between people. So instead of experiencing what's happening, say, when a couple is dancing, dialogue is used to explain.
Because of the way that I work with the actors and because a scene is not in this rigid and literal interpretation of something written, I can constantly change stuff, which means I can get a scene absolutely perfect, and then when we go to shoot it, the requirements of the shot mean it would be useful to extend the dialogue or take a line out or swap things around. So the camera doesn't serve the action. The action serves the camera. That's important. So it becomes more and more organic and integrated.
I never start editing a film until it's completely shot; I don't edit along the way, ever. When it's finished I come in here [screening room] and we start with reel one, scene one and start editing shot by shot by shot until we're finished.
I come from a theater background, and if you're doing a play, your audience is right there, and you're able to have that one-on-one experience. Doing more TV now, when fans come up to me on the street and talk to me on social media, that's a way to bridge that gap.
I'm not an actor that tends to care. I don't ask 'Is this a close up? Is this a master? Is this a wide? What are you doing? If I look up and notice the camera I go 'Oh, it's a big one today, must be an IMAX.' And that's kinda it for me because it doesn't affect what I'm doing.
I'm not an actor that tends to care. I don't ask "Is this a close up? Is this a master? Is this a wide? What are you doing?" If I look up and notice the camera I go "Oh, it's a big one today, must be an IMAX." And that's kinda it for me because it doesn't affect what I'm doing.
I just love the hours of the theatre, I love the way it operates. I always say that when you're doing a play it's like getting a shot of B12, and when you do television for a long series you need a shot of B12.
In the the late seventies and early eighties, I played background roles in thirty movies... Woody Allen movies, Scorsese films, you name it. Whatever was being shot in New York, I was doing stand-in and background work because I wanted to be close to the camera; I wanted to see what was going on.
Most of the telly I do only has one camera and the reason you have to cook it twice is you have a close-up, so you see what is happening really close up and then you have a wide shot, which is like standing back so you see the whole fish and the kitchen and, like it or not, you have to do it twice.
Awesome! I'd just bullied Jesus into doing a shot with me. Nobody would ever believe it, but I didn't care. We ordered the insanely expensive stuff, seventy-five dollars for a 1.75-ounce pour of premium Irish whiskey, because if you're doing a shot with Jesus, you don't buy him scotch.
One of the odd enjoyments in life is to be alone in a room full of people. To have them there as unknowing human filler in your wide shot.
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