A Quote by John Nettles
We were on a fairway shooting a scene in 'The Dogleg Murders' when I was asked by the cameraman if it was safe to film from where he was standing. I said, 'Yes, it'll be fine.' I then managed to slice the ball 90 degrees into the camera.
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And then I asked him with my eyes to ask again yes and then he asked me would I yes and his heart was going like mad and yes I said yes I will yes.
We were using a hand-held camera to film the scene when Morse collapses. The camera wouldn't start. Three times they said action and it still wouldn't work. To this day, they still don't know what was wrong.
The camera can be a machine gun, a warm kiss, a sketchbook. Shooting a camera is like saying, Yes, yes, yes. There is no maybe. All the maybes should go in the trash.
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.
80% of the women who were asked if they fake orgasms said yes. Actually, they said Yes! Oh God, Yes!
I asked each if [Yao Xingtong and Zhang Lanxin] was afraid of heights. Each said no, and although they had never had the action movie experience they were willing to be trained. Then I asked if they could swim, and each said yes, but she (gestures toward YX) is better. She said, I can also dive, in fact I once won a diving championship in an international competition. Then she said, "But big brother, I'm not very strong," and I said that's all right.
I did a few documentaries as co-director and cameraman. I started off shooting a film about the war in Rhodesia. Then I did a film about an 'around the world' yacht race with a friend, and we spent nine months on a yacht. The film was about how people get on in confined spaces under extreme stress.
I know when I watch a film at this point, if I completely lose myself in the characters and the story and the world of the film I know that it's at least in my opinion, that was great. Otherwise I'm thinking: "Oh I know they were just doing A, B and C, right before they walked into the scene, then the camera was there, then they probably took the shot from this reverse close-up and moved it into this." When all of that drops away then I'm like: "Okay this was phenomenal, this was fantastic." I mean, any film or TV performance in general is probably good.
A golf ball can stop in the fairway, rough, woods, bunker or lake. With five equally likely options, very few balls choose the fairway.
I was at a Madonna show many, many years ago and I was in the sweet spot and she came out and I mean it was the best part of the show. And I was shooting, shooting, shooting, shooting. And I'm like, "God, I must have shot a hundred pictures have I not run out of film?" And I opened the back of my camera and there was no film in there. So that happened to me only once.
For us as writers, it's really important to have songs we believe in - even before sometimes we shoot a scene. If we have a song that's so perfectly designed for a scene on 'Rescue Me,' we'll play it on loud speakers during the shooting. It helps the cameraman and it helps the director, and it helps the actors know what the feel is.
In a very real sense, all you do when you're shooting film or television is you shoot a scene, and then you shoot another scene, and then you shoot another scene.
You will make the boy Thief king?" he [Nahuseresh] said. "When you could have had me?" Attolia allowed a slight smile. "A fine revenge for the loss of a hand," said the Mede, close to snarling. "I will have my sovereignty," said Attolia thinly. "Oh, yes, a fine one-handed figurehead he will make," spat Nahuseresh. Then he remembered Attolia's flattery earlier that morning. "Or do I insult your lover?" he asked. "Not a lover," said Attolia. "Merely my choice for king.
He said that private practice in medicine ought to be put down by law. When I asked him why, he said that private doctors were ignorant licensed murders.
My dad gave my brother and I a camera to film our football games when we were 10 years old so we could see how we could get better. Then one day, we decided to pick up the camera and film whatever we were doing.
I asked him if it were a mirage, and he said yes. I said it was a dream, and he agreed, But said it was the desert's dream not his. And he told me that in a year or so, when he had aged enough for any man, then he would walk into the wind, until he saw the tents. This time, he said, he would go on with them.
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