A Quote by Maryse Alberti
At the beginning of my career, I shot a lot more documentaries because I liked the adventure, and probably also because it was easier, and still is easier, for women DPs to shoot documentary than it is to shoot fiction.
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I love the digital camera because it makes shooting easier and economical. I shoot fast, and I can shoot a lot. I shoot rehearsal; I just keep on shooting nonstop.
I have a 22-year-old son, and when my son was born I made a decision to raise him. My husband and I took turns working, and it's easier to raise a kid in the documentary world, where you go away for two weeks or three weeks rather than the months that you spend on a feature. That was and still is much more open to women DPs than the world of fiction.
It's difficult to make movies. For me it was easier, as a refugee in Switzerland, to make documentary films, because I didn't need a lot of money for it. The way I tell my story or my opinion would be very similar in both fiction and documentary forms. But I found I could speak more effectively to convey this brutal reality through documentary than I could through fiction.
It's so much harder to recreate something than it is to shoot at the actual place. It's not without its problems. You've got a lot of bystanders and security issues, but it's always a lot easier and a lot more fun to shoot at the actual location.
But phony, Hemingway was not, and poseur he was not. He did not shoot lions and leopards because he was searching for the answer to life. He shot lions and leopards because he bloody well liked to hunt and shoot, and killing was the best punctuation mark at the end of the intricate and fascinating process of hunting.
When you're working with a script and you have three pages for that day, you have to shoot that. It can become sort of like a prison, because by the time you've shot what you need to shoot, you don't really have time to think or shoot anything else.
I always thought the piano scene was kind of unique to shoot because we were actually able to film with the playback of the actual song. And that was quite amazing because it almost made it easier - music is usually something that is added after filming has finished so to be able to shoot a scene with music was really wonderful.
I watched a lot of silent movies. It's a very specific way of writing, which is more of a challenge than the directing. You have to describe images. It's easier to shoot them.
I have good mid-range shot and I can shoot threes, but in Europe coaches didn't want me to shoot outside because I was tall and big.
A lot of guys can shoot two, three, four, five, six, seven, 10 feet behind the 3-point line. A lot of people can do it. It's just, when is it going to be considered a good shot? When are coaches going to encourage you to shoot that shot?
I've always wanted to shoot a good percentage for my team, because I'm the point guard, and I can take fewer shots, still score more, so that I can get my teammates feeling good about themselves. That was always my feeling - that if I shoot a high percentage, I don't have to shoot a ton.
An effective found footage movie is much harder to make than an effective traditionally shot movie. A crappy one is much easier to make because you take your camera, and you shoot the scene, and you're done. But to make it effective, they're actually much trickier.
Well, you always discover a lot in the editing room. Particularly the action, because you have to over-shoot a lot and shoot an enormous amount of material because many of the sequences have to be discovered in the editing and manipulation of it.
One day I decided to move towards documentaries or to move to more directing in documentaries at this point in my career. Why documentaries? I also love fiction. I would love to direct a fiction movie as well. But I think where I come from, reality is so interesting and has in it so many good stories to tell, this is why I'm doing that. I'm enjoying that.
I grew up as a cameraman, so it's much easier for me to shoot it myself. I work with an operator and a crew, but it's way easier for me to function as a cinematographer, than to have a cinematographer between me and the lens. I don't need that.
In college, the line is so close that you can kind of half-heartedly shoot the ball off-balance and fading away. To shoot an NBA three, because the arc of your shot has to be a little higher, you have to be squared up and get your legs into it more, which can be tough in the fourth quarter.
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