A Quote by Jeremy Coon

It's impossible for one or two people to go out and shoot a narrative film; you need to have a cast, the person shooting sound, whatever. But you can legitimately have a couple people and go and do a documentary.
I can't relate to the people who shoot wolves. I'm guessing the person who shot Wolf 06 wouldn't relate much to me either. You let people go out and shoot hundreds of wolves and watch violent movies, and then you're surprised when they go on a rampage shooting other humans. You can't separate violence like that.
Film, for me, is in two stages. One is when I write the script more or less on my own - that's the nice bit. And then comes for me the unpleasant bit when they all go off, 100 people - actors and camera people and film and sound - and I stay away. When they go into the editing room, I come in again, and that's the bit I like.
I had the opportunity to go cast for a Hollywood film that was filming in Thailand called 'Mortal Kombat 2.' Out of 100 people, I was cast to be the stunt double for Robin Shou.
I get very close to people when I'm shooting them. We would go and shoot a scene with Lucy, and I would spend the whole time telling her about Rob. Then I would go shoot a scene with Rob and tell him all about Lucy. Eventually they wanted to know each other. These are two people who would never have overlapped in any other way or context. We brought to the garden at Rob's office and just sat and watched what unfolded. I remember weeping behind the camera, because I was so moved by the way they connected.
I'll go to do a shoot, I'll spend five or six hours at the beach with people, and when people think I'm all out of film, then they really relax and I get my good pictures.
I was constantly shooting. Sometimes I would shoot through the night and in the morning go to my next shoot without any sleep or just two hours of sleep.
Sometimes during a show or a film, while you're shooting it, you'll think, "This is great, it's going to be fantastic, the script is incredible, and the actors are great, and everything is working out brilliantly." And then you see it, and you kind of go, "Oh god, it's not as good as I thought it was," and it doesn't get an audience to watch it. It only does a couple of festivals and then dies and whatever.
Shooting on film is great because it imparts discipline: What do you need to see so you're not finding it in the camera. When I'm shooting, I have the scene in mind, where I'm going to have certain lines. I learned to overlap and to shoot more than I think I need. That was the learning curve.
People in the media grew up in the Northeast and can't comprehend the notion that there are people who like to go out to the clay pits and shoot and, afterward, go eat fried chicken.
I became passionate about nature filmmaking when I graduated from UCLA, and one of the things I always wanted to do was shoot really high quality film, so I got into time-lapse photography - so that means when you shoot a flower, you're shooting, like, one frame every twenty minutes, so that's basically two seconds of a film per day.
For there to be communication within a couple, it is enough for there to be only one person who communicates or who really wants to communicate. Even though a couple consists of two people, if one of the people in a couple puts all their effort into moving a couple along they will move along.
It's just so hard growing up: you go through things, especially acting - I go to a different set every couple of months, and you meet an entirely new group of people that are around you 24/7. It's not an easy situation to go into when you're a shy person.
When you go to South Africa, you get a different vibe and a different sound. The music is awesome the people are loving it. When you go to Botswana, it's a different ball game. The people out there love Afro Beat Hip Hop so much. When you go to Sierra Leone it's different, when you go to Nigeria it's different... It's all pretty exciting!
I don't think acting should be all-encompassing. So, when I'm not shooting, I'll go down to Mexico on a spear-fishing trip for a couple of weeks, or I'll go to the Coral Sea, or I'll go to Panama, or wherever.
I always tell aspiring documentary filmmakers, 'You have to go into it because you love it; if you go into it for the money, you're an idiot.' The number one prerequisite is you have to be intensely curious. If you love learning and trying to make people figure out what makes people tick, it's the best job in the world.
I don't run around shooting people. Much. I only shoot two people a year. Maybe.
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