A Quote by Keiynan Lonsdale

Once I wrapped 'Insurgent', I went to Boston and shot a film called 'The Finest Hours.' It's based on a real story in 1952 about a Coast Guard mission to rescue these sinking ships that are caught in a blizzard.
I did a film that I shot in 24 hours that was self-financed for $5,000. It was a feature called Looking For Jimmy that I shot with a bunch of friends. I spent eight months editing because we had 24 hours of footage that made no sense and I learned a lot about directing while editing that film.
[ The Finest Hours] reminded me a lot of a film I did called Unstoppable in that you have a driving thriller aspect of the film and it's not all that complicated of a story and there's a simple elegance to it. I liked that. It is also driven by a really strong romance and ordinary men doing extraordinary things. I love that.
I've had the pleasure of working in the U.K. a few times before. I've shot a few movies there before. One of them was Neil Simon's 'London Suite,' which was based on his play. I also shot a film in Dublin, a little film with Bernadette Peters, called 'Bobbie's Girl.'
Each 'Bar Rescue' is shot in real time. So the complete rescue is 5 days from my arrival to my departure. I do not see or meet anyone in advance.
The thing I always guard against when I'm talking to people I'm working with about a script is that there's a thing I don't like and it's called "talk story." It's when you're talking about the story; the characters are tasked with talking about the story instead of allowing the audience to experience the story.
The Coast Guard evokes images of search and rescue operations, maybe during Hurricane Katrina, or guys jumping out of helicopters wearing snorkels and fins - and that's accurate, but only part of the picture.
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.
Reading what a good shot is, based on time and score of the game, based on the shot clock, based on my position - there's a lot of things that go into it. It's a lot of things that you think about based on when to shoot it or when not to.
I make a film - and once I've made it, everyone comes along and says 'Ah! This is a film that's political, or social', or whatever. But I'm not telling the story that they see. I made a film, told a story, but I wasn't thinking about exactly what it all meant.
Even before 'Moon,' I did a short film called 'Whistle,' and it had a lot of the things that I thought I would need to be able to do on a feature film: I shot on location, there was special FX work, there was stunt work, we used squibs, I shot on 35 mm film.
I've been very fortunate to be able to jump around. I just did this really wonderful film called Map of the World. That was a real, amazing, dramatic story. Then I did a movie called Company Men, a little comedy about the Bay of Pigs.
I shot film with the Coen brothers on 'Hail, Caesar!' That's fine. I'm sentimental about film; I've shot film for forty years or something.
After film school, I would write 8 hours a day on film and 8 hours a night on TV, and then sleep once and a while.
As a child, my sister and I had very fruitful imaginations, and I would think that I wanted to be one profession or I'd want to have this experience in life. I realized it's not because I actually wanted to be a Coast Guard helicopter rescue pilot or something like that - I just enjoyed the idea of playing it.
I did some rescue work for Hurricane Katrina victims with a group of rescue people called Best Friends Society, who have a show on Discovery now called 'Dogtown.'
I'm never going to be a point guard, but you always have guards that get the rebound and take it coast-to-coast.
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