A Quote by Michael Haneke
To decide to film a movie again shot by shot, you must be masochistic to a certain degree because it is a much greater challenge.
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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.
Film is shot in fragments, and the same moments can be shot again and again until the director is satisfied.
Maybe if I'd gone in younger, I wouldn't have had that feeling, but I've seen an enormous amount of changes since the early-'70s in how this stuff is shot. I did the first TV movie ever shot in 18 days; before this film the normal length of shooting a TV movie was between 21 and 26 days. We shot a full-up, two-hour TV movie in 18 days with Donald Sutherland playing the lead, who had never worked on television before.
If you do an original film and you want to cut a scene out you do it. But when you do a shot by shot remake you don't have that option and every scene has to work again.
Luckily I had just finished a Marvel film so I was already in a training mentality and then this movie happened and I was really just trying to focus on like as much cardio as possible because in this film I do a lot of running and a lot of running in 100 degree heat in Austinit was like a sprintit was very much like all one shot running around, sprinting. So I had to build up my cardio to be able to get to that place and also not to like, die.
I shot 'Fruitvale Station' on super-16, and then I shot a movie called 'The Harvest' on 35mm, and then I shot 'Little Accidents' on 2-perf 35.
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.
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.
I was in Milan, and somebody gave me a Trussardi diary, and I thought 'Genius.' Inside I put the Polaroids, how much film I shot, who I shot with. This way, for billing later on, I had all the information.
I never start editing a film until it's completely shot; I don't edit along the way, ever. When it's finished I come in here [screening room] and we start with reel one, scene one and start editing shot by shot by shot until we're finished.
When I was in Hungary in December I was looking at student films and I could not tell which ones were shot on film and which ones were shot digitally. I think that is because the filmmakers in Europe go to four years of film school and learn the techniques.
I have been parts of some films in the South where I didn't expect certain shots to be shot in a certain way. I wasn't experienced enough; I was very naive. I didn't have the standing of an actor to say that I don't want to do this shot.
3D really altered the way I shot the movie completely, and it was exciting because, after 20 years of filmmaking, I felt like I was making my first movie, all over again.
You cannot do anything without rousing the masses to action. A plenary meeting of the Soviet must be called to decide on mass searches in Petrograd and the goods stations. To carry out
these searches, each factory and company must form contingents, not on a voluntary basis: it must be the duty of everyone to take part in these searches under the threat of being deprived of
his bread card. We can't expect to get anywhere unless we resort to terrorism: speculators must be shot on the spot. Moreover, bandits must be dealt with just as resolutely: they must be
shot on the spot.
After college, I really looked at every single shot that I shot. Pretty much every shot in my sophomore year and my junior year and just watched my form. I watched how I shot it from 3, and I just noticed I was a very undisciplined shooter.
The way I work is, I always compose a shot list before I talk to anybody, including my DP. So I'll spend a couple months basically creating the movie in my head, so I have a very solid film in my head, where I know every shot, and I know what the transitions between scenes are.
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