A Quote by KiKi Layne
Some things shoot in Chicago, but even those things that shoot there still cast their bigger roles in L.A. or New York.
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Don't overthink things in front of you. I fit moves you, shoot it. If it's fun, shoot it. If you've never seen it before, shoot it.
I'm trained to look for certain things... I shoot, I shoot, I shoot, and then I go find it in the ether.
Chicago seems to follow New York, and coming from New York and being in real estate, I worry about things happening in Chicago that have happened in New York. I've seen a great city like New York go downhill. It has a wonderful financial downtown, but the rest of the city is not very nice.
If you shoot for the stars and hit the moon, it's OK. But you've got to shoot for something. A lot of people don't even shoot.
It's always fun to do the fight sequences and then to complete them, because some of them are quite complicated - with guns and so on - and there's always things that can go wrong. It's fun to shoot those things because we rehearse them very strenuously. It's fun to shoot them, and fun to know they're finished, that they're in the can so to speak.
Since 1950 I have been keeping a film diary. I have been walking around with my Bolex and reacting to the immediate reality: situations, friends, New York, seasons of the year. On some days I shoot ten frames, on others ten seconds, still on others ten minutes. Or I shoot nothing. Walden contains material from the years 1964-1968 strung together in chronological order.
So something I've felt I've learned with The Cosmopolitans shoot is using some agility and changing things quickly. That's something I found really useful on this shoot too. The gestation of The Cosmopolitans and this are slightly different from my other films. The script would be done and I'd be cutting it, but I wasn't always writing new material.
There's some nights you shoot the ball better than others. When you don't shoot it well, you have to have an understanding you can play well by doing other things.
I worked with Herb Ritts on the Marky Mark shoot, and then Steven Meisel, and then they'd start sending limos for me, and I was like, 'That is so embarrassing. I'm not getting in a stretch limo by myself to go to a shoot.' That whole New York thing of, 'You are fabulous! Turn up to a Meisel shoot in a limo and you're fabulous!'
There's not millions of dollars riding behind something - so I think a lot of people took chances on me and cast me in roles in Chicago that I never would have gotten cast in possibly if I had come to New York right away. I got to be the not-your-typical-choice for a role.
I think not being a professional photographer was actually a blessing, because it allowed me to shoot things professional photographers wouldn't shoot, or wouldn't try or attempt to shoot without lights. So I did all my stuff natural and without lights.
Haven't you ever heard of the saying, "If you want to shoot the general, first shoot the horse!"?' --Lin If you wanna shoot the general, then you should just SHOOT THE GENERAL!' --Ed
When I first started in the industry, there were - this is prior to the era of computer graphics and all these digital tools - there were some pretty rigid, technologically imposed limitations about how you shoot things, because if you didn't shoot 'em the right way, you couldn't make the shot work.
There's just some kind of men you have to shoot before you can say hidy to 'em. Even then, they ain't worth the bullet it takes to shoot 'em.
I've done Last Samurai in Japan, in LA, in New Zealand. Even in Japan it is very hard to shoot, because there's been so many changes. Only around a temple can we shoot.
By temperament I am not unduly excitable and certainly not trigger-happy. I think twice before I shoot and very often do not shoot at all. By professional standards I do not waste a lot of film; but by the standards of many of my colleagues I probably miss quite a few of my opportunities. Still, the things I am after are not in a hurry as a rule.
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