A Quote by Michael Winterbottom
The great thing about not having a script is there's nothing you have to shoot that day. When you start filming, you can shoot anything you want. There's no pressure to shoot anything. Whatever interests you that day is what you're shooting. That's a big liberation that makes it more enjoyable and more relaxed. I think if you have that kind of framework it can make it a much more satisfying thing to work on and to watch as well.
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There used to be a period of time when you'd shoot big studio movies where you would shoot a couple of pages a day. For a TV show, you've gotta shoot seven to nine. The schedules are much more compressed.
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.
The only real difference between shooting 'Firefly' and 'Serenity' was that on 'Serenity,' we had a lot more freedom with time. When you're shooting a television show, you usually have anywhere between six and nine pages of script to shoot a day, and only twelve hours to do it. But with 'Serenity,' we could shoot one scene all day long.
You do need to edit yourself as you shoot because you have fewer options in a smaller movie. In other words, when I'm shooting a big movie, and I got an 85 day shooting schedule or more, then I'm saying I have enough time to shoot option A and B and C and D for every scene.
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.
Shooting against greenscreen... my choice of filming is, like, I'd rather shoot on location than shoot on a set, and I'd rather shoot on a set than shoot against greenscreen. You start stripping away the layers of reality, and it becomes a lot less fun to actually film.
Usually, I have in mind what I want to do. I shoot pretty economically, so I'm not shooting tons of stuff that I could change, all that much. I'll cut something or add a little something back, but not too much. This is maybe the producer part of me, but I'm always worried about the budget, so I shoot what I know I need to shoot for the film.
I'd like to have the script in a much better place from day one of shooting, rather than trying to continue to work on it while you shoot it. I think those are lessons you learn on any film.
There is always this perception that you want to shoot for the top, but I think there's this great place to shoot for the middle and get consistent work and try different things and do the work you want to do with the kind of people you want to do it with.
I shoot in black and white, sometimes color, sometimes if it looks good I shoot out the window of the airplanes or whatever, anything that - sometimes I secretly take secret photos, shoot video of people on the plane if it's not too crowded. I don't know, whatever comes up.
When you move into becoming more of a shooting guard, you get more catch-and-shoot three's, lot of pin-downs and things like that where you shoot the three a lot more.
The thing about America - it's different everywhere, but visually, it's amazing to shoot in the desert in the New Mexico light. It's really hard to shoot in that desert and make anything look not amazing.
You can finish the day's filming or the whole shoot or watch something months later and think you could have done it so much better. It's frustrating.
Those who want to be serious photographers, you're really going to have to edit your work. You're going to have to understand what you're doing. You're going to have to not just shoot, shoot, shoot. To stop and look at your work is the most important thing you can do.
At twelve I was determined to shoot only For honor; at twenty not to shoot at all; I know at thirty-three that one must shoot As often as one gets the rare chance - In killing there is more than commentary.
I like to use a bit of chaos when I shoot. I think it may be something from the way I shot my first film - I was very scared, of course, and I prepared everything, I wanted to make sure that the characters did the right thing at the right time on the storyboard. But then I realised that in life, there is so much more than what you can predict or write in advance, that when you shoot the story, it's good to leave some gaps where you lose control. I think this combination of chaos and organisation gives a kind of quality.
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