A Quote by Larry David
Woody Allen likes to do a lot of master shots. He likes to get the whole thing in one take, and so you could be going along doing a scene, and then the next to last line, all of a sudden, you stumble, and you have to go back to first base.
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There are no black film composers doing the likes of Star Wars, doing the likes of E.T., doing the likes of Jurassic Park. There are none, nor will there ever be one. That ain't about to happen!
I think Woody Allen is Woody Allen, and no matter where he goes he still makes his Woody Allen films.
Often they do go back and forth the whole way, and I don't know until the very end what the last line of the book is going to be. That was true here - the very last line of the book was the last thing that happened.
People sometimes forget all the films that we've done. They remember the likes of 'Malcolm X' and 'Do the Right Thing.' But I've been working since 1986. From the beginning, I was determined to not just be a flash in the pan. I've got to keep up with Woody Allen. He's lapping me.
The way Woody Allen directs, there isn't a lot of direction. He kind of might give a few gentle suggestions, but he really says right from the first day, "Just make it sound natural, and if you don't like something, put it in your own words." And [Woody Allen] gives you a lot of freedom and just very polite.
I don't feed off of the boos, I don't feed off anything like that... No one likes to get booed, no one likes to get cussed out, no one likes to get yelled at by 20,000 fans when you go places.
When you make a movie, you do it so piecemeal. You're doing it, not only scene by scene, out of order, but shot by shot, line by line. And there's this idea that the director has the whole thing in his or her head and they're going to somehow weave it all together in the end.
I don't back down. Like, I don't know how to flop. That's never been a part of my game. For me to know if a guy likes to turn left shoulder or right shoulder in the post, I have an advantage. Or if he likes to go left all the time, I have an advantage. Or if he can't make open jump shots, I have an advantage.
From the onset of the 'Live-Read' series, we wanted to hit all the major writers and Woody Allen is simply one of the greatest screenwriters of all time. He has ability to match pathos and comedy and drama and then turn it all on a dime. If you're going to make a series based on dialogue, you can't find much better than Woody Allen.
Dembele likes to take players on. He's a dribbler and a power player who likes to break into space; he has the ability to do this. He has a lot of virtues.
Mo-cap work is less technical than you'd expect. Once you have it all set up you're free to do the whole scene in one take rather than doing a lot of different shots and different takes like you do in a movie. You've got that one go at it and you've got a lot of freedom. You can really express yourself - more like doing theatre than doing a movie.
I think of going back to the sports field again, and let's take a baseball game. Well, you have cracked out a grounder and you put in your last ounce of energy and you just happen to make first base. But you don't stop there. First base is the beginning. Now you call on all your alertness, your skill, your energy - and you count on your teammates, you count on the people that are working with you. And the purpose of that getting on first base was to get you around to count a run.
When you're the guy behind the camera, you're aware of the reasons for the compromises or the changes that get made. As an actor, you go and do your thing, and someone else down the line then does all the math and goes, "We can't include that thing where he's pretending to be dumb and needling those people, because it takes a minute and a half, and it ruins the next scene. It doesn't make sense." If you're directing, you're the one doing that.
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