A Quote by Norman Reedus

I've shot films in locations that have seemed haunted. I shot a film in a maximum-security prison in Russia. Part of it was on a psychiatric ward - there were definitely some creepy vibes there.
Indian film industry has shot films all over the world and we get a lot of benefits and facilities while shooting our films in foreign locations.
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 a company where I'm trying to get projects off the ground. Me and my partner Madeleine Sackler, we just shot our first feature in a maximum security prison where about 95% of the cast were incarcerated men. We're editing that and there's a doc going with it.
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.
When you cut from a long shot to a close shot, you're doing it for a reason, or if you let something stay in long shot for a long take. On the short films, I was teaching myself how to express something personal cinematically, how to use the language of film the best I could.
I have always loved South Africa, where I shot 'Andaz' and 'No Entry.' Some of the biggest films of my career have been shot in Cape Town.
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.
I don't think the idea of working in Hollywood really exists anymore. I think you work in films, and where the film is shot is where it's shot. The studio system doesn't really exist.
So many films are being shot on the DSLR, that they're all starting to look the same. There's a shallow depth of field. It's a nice look, but I can always identify a film shot with a DSLR.
When it comes to locations, I'm one of those crazy authors who has to see it, touch it, taste it, before I trust myself to recreate it for my readers. Having said that, visiting a locked-down pediatric psych ward was the most intimidating research I've ever done - and I've visited maximum security prisons, shooting galleries, bone collections, etc.
The psychiatric ward was a really creepy place and, hindsight being 20/20, the creepiest thing about it was that I truly belonged there.
The candle burns not for us, but for all those whom we failed to rescue from prison, who were shot on the way to prison, who were tortured, who were kidnapped, who 'disappeared'. That's what the candle is for.
The candle burns not for us, but for all those whom we failed to rescue from prison, who were shot on the way to prison, who were tortured, who were kidnapped, who "disappeared". That's what the candle is for
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.
I knew exactly what I wanted out of my actors - the film stars Ranveer Singh and Sonakshi Sinha in lead roles - and how each shot should look. A large part of 'Lootera' has been shot under tough conditions.
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.
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