A Quote by Norman MacCaig
I just didn't want to shoot other people.
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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
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.
The things that are hardest to shoot are the things where you want people just to feel very natural, and you want to do love scenes, and you want to do just kids hanging out and trying to get them to relax.
People go, 'What do you want to do?' What do you want to do? What are you feeling? Going into a shoot not fully knowing what I want to do—that excitement, that thing that happens, is just so powerful and makes such great pictures.
I'm interested in how people shoot because I have a very specific way of shooting and I'm fascinated by the way other people shoot films, particularly if they're smart and talented.
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.
I don't have continuity people. I don't have clapper boards. I don't have monitors. I shoot very fast, I shoot a lot, and we just keep on going.
I couldn't shoot. When I went to play in Europe, I learned to shoot better. I could jump, so people would just back off of me.
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.
While you're making the film and working with the actors, if you want to have a little room to breathe and experiment and play, it grows, and you want that to happen. It's not enough to just shoot the script. You've gotta come up with new inspiration, as you shoot it. There's gotta be room for that and time for that, so it grows.
I get very close to people when I'm shooting them. We would go and shoot a scene with Lucy, and I would spend the whole time telling her about Rob. Then I would go shoot a scene with Rob and tell him all about Lucy. Eventually they wanted to know each other. These are two people who would never have overlapped in any other way or context. We brought to the garden at Rob's office and just sat and watched what unfolded. I remember weeping behind the camera, because I was so moved by the way they connected.
Men are imposible, but after you've had one around nothing ever has quite the flavor without one. It's terrible, really. When they're there you want to shoot them and when they're not you want to shoot yourself.
Like, if I'm assessing someone's game and they can't shoot, they can't shoot. And they know they can't shoot. It's not like I'm making fun of them. I just keep it real, man.
If you shoot with a billion cameras, then there's no perspective. You want to use one shot at a time, so it's better to discover what that is before you shoot, rather than trying to make something in the cutting room, and then it just becomes generic.
I love good TV shows, but it's not what I do. I kind of sculpt my films as I go along. And TV is all about writing, so you just shoot, shoot, shoot what's written.
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.
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