A Quote by Juergen Teller
I'm not interested in running around from one shoot to another.
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When I make a documentary I shoot very little but I hang around with my camera for a long time. I look at the people for a long time through the loop and then when I see something interested then I shoot. I think that I have become very sensitive to these things.
The animators are fantastic though. They'll shoot their own reference material, and just go into the car park or something. And they might shoot a very funny scene, or sometimes a serious scene. But they're really just trying to work out the motion. Yet what we get treated to is hilarious video of someone running around a parking lot with a broomstick and a helmet!
Shoot the dictator and prevent the war? But the dictator is merely the tip of the whole festering boil of social pus from which dictators emerge; shoot him and there'll be another one along in a minute. Shoot him too? Why not shoot everyone and invade Poland?
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.
I'm not interested in Vice President. I'm hanging around Arizona. I'm running again for Sheriff.
When you are cleaning, sweeping, swabbing floors and running around for the littlest of things on a shoot for an ad or a documentary, you realize how tough life is behind the camera.
We were fortunate enough to shoot 'Alps' - write the script and shoot it - right after 'Dogtooth' premiered in Cannes. So we didn't just sit around and wait to figure out what to do because 'Dogtooth' was successful. We just wanted to make another film fast, so we just went ahead and did it.
I tend to shoot really quick so you don't get the problems you might get on a traditional film where you shoot one way, then another, and it's pissing down with rain and they won't cut together. We shoot so fast we can incorporate the weather into it. The worst weather we had was when they were in the caravan up the mountain and there was no cover. One man's weather is another man's production value. To create the sleet would cost a fortune but we got it for free so we'll just have to go with it.
I've been running my whole life. Running into bars, running around the world. But when you have a child, you can't run. That was a revelation.
Basically, if you shoot your own stuff, you can just pick up a camera and some wireless microphones, grab a couple of LEDs, and you're off and running. And if you don't shoot your own stuff, you can just grab one other person to do camera and you can learn how to do the sound, and you're off and running.
I think back to my childhood, and I remember running around as a kid. We were all running around then. It wasn't about getting into shape. It's just what we did.
You shoot another guy—well, okay, this is Baltimore. You shoot three guys, it’s time to admit you have a problem.
I'm not interested in being Don Quixote. I'm interested in running the City of New York.
For me, running is a lifestyle and an art. I'm far more interested in the magic of it than the mechanics. It's that interest and exploration that make running fun for me. It's easy to become outcome-focused; for me the unfoldment of self is what is meaningful in running and outlasts any medals.
I'm interested in how people shoot because I have a very specific way of shooting and I'm fascinated by the way other people shoot films, particularly if they're smart and talented.
When I was growing up, I was running around; I was a little tomboy. So I was just running around trying to be an athlete and trying to reenact things from TV, but I wasn't really into reading comic books or anything like that.
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