A Quote by Michael Cimino

Does anyone remember who shot Kubrick's movies? Do you remember who shot David Lean's movies? No one remembers who shot 'Dr. Strangelove' or 'Barry Lyndon.' — © Michael Cimino
Does anyone remember who shot Kubrick's movies? Do you remember who shot David Lean's movies? No one remembers who shot 'Dr. Strangelove' or 'Barry Lyndon.'
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.
I really wanted to write the way Kubrick makes films - 'Strangelove,' '2001', 'Clockwork Orange', 'Barry Lyndon' - they're all so different.
Notice how every science fiction movie or television show starts with a shot of the location where the story is about to occur. Movies that take place in outer space always start with a shot of stars and a starship. Movies that take place on another world always start with a shot of that planet. This is to let you know where you are. Novels and stories start the same way. You have to give the reader a sense of where he is and what's happening as quickly as possible. You don't want to start the story by confusing the reader.
The beauty of Toronto is that it has not been shot a lot in movies, for itself at least. I mean, most of the time, Toronto is shot to portray something else.
[Keeping Up with the Joneses] is not one of those movies where people get shot and fall down and there's no reality of what would happen if you got shot and knocked over a motorcycle. It's meant to be a slight comedy in that sense.
I did Phone Booth, and that was shot very, very quickly, but that was Joel Schumacher, who's shot so many movies that, if anybody can figure out how to do it in a couple of days, it's him.
Most movies are lucky to have one moment, one shot that you look at and you always remember that moment and that scene.
I don't like movies that are shot on green screen much, you know. I mean, I know that's the thing to do, and I know that it's getting. I'll put it this way; David Lean would probably kill himself, you know, again if he knew that people were watching Lawrence of Arabia on a telephone.
It goes back to a style of moviemaking I remember seeing as a child, in movies like The Man With The Golden Arm, which I think was shot all on a sound stage.
A shot of Shyam Benegal inspires me a lot. I wonder why a film of David Dhawan cannot have a shot like that.
It comes to the point where, if a midrange shot is there, I'm going to take it. If I'm open, I have to shoot that shot. That's a great shot for the team and myself.
Anybody that shoots a hook shot, whatever hand, I jump up and cheer because it's the easiest shot, it's the best tweener shot.
He knows all the golf lingo. You know? You hit your ball, he's like "there's a golf shot. That's a golf shot." Well of course it's a golf shot; I just hit a golf ball. You don't see Gretzky skating around going "there's a hockey shot, that's a hockey shot."
See, I am an ardent fan of David Lean. I cannot do a shot like David Leans' in a Malayalam film because the budget does not permit me. Those dreams, I mean the glossy dreams of mine, can be fulfilled only in Hindi films.
I got my shot at the movies. I love doing standup live. I didn't know what I wanted to do. I wanted to try movies, so I gave it a shot. I had two shots and I didn't really do it. That wasn't really happening for me. On the second movie I got to meet the girl that would be my wife. So I got to hang out with her and get engaged, and get the whole wedding thing. It was really great.
The major difference between the big shot and the little shot is the big shot is just a little shot who kept on shooting.
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