A Quote by Justin Simien
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.
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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.
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.
In putting setting to work, I like to think about long shots and close-ups. The long shot is the overall view of the place in which the characters live - the island, the town, the wide sweep of place. Then we narrow in. The close-up, the tight focus, makes the place different from anywhere else.
The time to hurry is in between shots. It's not over the shot. It's timing how people walk. You have to add that to the equation. If you've got somebody walking slow and they get up to the shot and take their 20 seconds, what's the aggregate time for them to hit that shot in between shots? That's what really matters. It's not the shot at hand.
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.
Golf is social. It brings a lot of people together. And the great thing about a scramble, there's less pressure because you don't feel like every shot has to be your shot.
If I'm ever working on a set and anyone talks about a master shot, I say there is no master shot. Before I even went to film school, I learned about movies by being in a British feature film, where everything was shot master shot, mid-shot, close-up. But I reject the idea of a master shot. You don't shoot everything mechanically; you find imaginative ways that serve the action.
Cooking for me is a way to wind down. It's different from cooking on camera, where you have to do everything twice, for a wide shot and a close-up.
I was so passionate about wanting the role in 'Like Crazy,' I filmed myself in the shower because that's where one of the scenes was set. It just felt instinctive. It was a close up! It would have been strange if I'd sent off a wide shot of myself. That's not the kind of work I want to do!
We go in with eyes wide open and recognize there will be a lot of hard work involved. But we anticipate having success. We feel like we have assembled a great group of people. If we were going to do it any other way, we would have made an announcement a long time ago. We were very diligent.
Every shot feels like the first shot of the day. If I'm on the range hitting shot after shot, I can hit them just as good as I did when I was 30. But out on the course, your body changes between shots. You get out of the cart, and you've got this 170-yard 5-iron over a bunker, and it goes about 138.
Most folks here got rules 'bout trespassing. Warning shot's fired right close to the head. Get they's attention. Next shot gets a lot more personal. Now I'm too old to waste time firing a warning shot.
I found out some of the spots on the floor that I like to shoot - do my little floater shots, my pull-up shots, being able to get all the way to the rim. By me doing that, it's kind of opened up my 3-point shot.
What strikes me is that 'XIII' looks like a movie. The shot making is movie-like, which is kind of fun - the kind of playful action movie shot making is pretty, is pretty good. What's also great about this game is its style and interesting story-line.
When you cut from a long shot to a close shot, you're doing it for a reason, or if you let something stay in long shot for a long take. On the short films, I was teaching myself how to express something personal cinematically, how to use the language of film the best I could.
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