A Quote by Michelangelo Antonioni

When I am shooting a film I never think of how I want to shoot something; I simply shoot it. — © Michelangelo Antonioni
When I am shooting a film I never think of how I want to shoot something; I simply shoot it.
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 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.
I still shoot film. I like what film does, how it renders things, Also, when I'm shooting from the air, I want to have as large a negative as I can.
I try not to tell students where to shoot, when to shoot, or what to shoot. I feel finding the picture is the most important part of being a photographer. The actual shooting is of lesser importance.
I never shoot my movies like I'm shooting 'a horror movie,' I shoot them like dramas. Dramas and then something horrible happens.
I came back to Haiti after the earthquake not to shoot a film, but to help and be a part of the rebuilding process, like all my fellow compatriots. I didn't come to shoot a film, but I became frustrated when I realized that my help was kind of useless. We all felt lost and helpless. And it's out of that frustration that I decided to shoot a film.
I became passionate about nature filmmaking when I graduated from UCLA, and one of the things I always wanted to do was shoot really high quality film, so I got into time-lapse photography - so that means when you shoot a flower, you're shooting, like, one frame every twenty minutes, so that's basically two seconds of a film per day.
Any man can shoot a gun, and with practice he can draw fast and shoot accurately, but that makes no difference. What counts is how you stand up when somebody is shooting back at you.
In a very real sense, all you do when you're shooting film or television is you shoot a scene, and then you shoot another scene, and then you shoot another scene.
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.
Haven't you ever heard of the saying, "If you want to shoot the general, first shoot the horse!"?' --Lin If you wanna shoot the general, then you should just SHOOT THE GENERAL!' --Ed
If you shoot for the stars and hit the moon, it's OK. But you've got to shoot for something. A lot of people don't even shoot.
I shoot very little film. If you just do coverage you're shooting any number of potential films instead of just one, and I was shooting just one specific film. Film is cheap but time is expensive.
By temperament I am not unduly excitable and certainly not trigger-happy. I think twice before I shoot and very often do not shoot at all. By professional standards I do not waste a lot of film; but by the standards of many of my colleagues I probably miss quite a few of my opportunities. Still, the things I am after are not in a hurry as a rule.
Don't overthink things in front of you. I fit moves you, shoot it. If it's fun, shoot it. If you've never seen it before, shoot it.
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