A Quote by Paul W. S. Anderson
I guess the way I shoot things is slightly influenced by the way videogames are cut and shot.
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When I first started in the industry, there were - this is prior to the era of computer graphics and all these digital tools - there were some pretty rigid, technologically imposed limitations about how you shoot things, because if you didn't shoot 'em the right way, you couldn't make the shot work.
You know, pass now to pinch post, cut, shoot the shot. Do things to facilitate the offense. That's what I did in Alabama.
There are many things that have stayed consistent. But the biggest change, of course, is technology, the way it's used, the way films are shot, the format that they're shot in, and the way films, of course, are edited. It's very different than it was in the past.
I guess I didn't have a lot of friends, so that's what made videogames so important. They played back. I could do them myself. Solitaire can't surprise you; there's no AI. But videogames play back with you.
I think that Paul Gasol is the most skilled big man in the NBA today with his ability to post on either block, the way he runs the floor, and the way he can shoot the mid-range jump shot.
Naturally, I do things my own way but I'm certainly influenced by my mother's way of doing things.
Any project that you shoot, it's never going to be completely finished the way that... I don't think I've ever worked on anything where every scene has been kept in the order that it was originally in, or that it hasn't been cut down in some way.
Usually, when you do a period movie, you just recreate what you are shooting. You don't recreate the way you shoot it. I think I did the same thing here as I did in the OSS 117 movies. I recreated the way to shoot that period, because to me, like what I was saying about the Steadicam, there's no sense to do a Steadicam shot in the 1920s because you have never seen the '20s like that. You can't believe there was a Steadicam in the 1920s. I believe it's a continuation of the OSS 117 in a way but without the irony.
I love novels, and I read them more than anything, but stories cut in sharp and hard and are able to reveal things in a different way: they're highly charged, a slightly newer form, and inherently more contemporary.
I shot my undergraduate work on 35mm. I love the way it looks, but I haven't shot film in a while. If you can avoid scanning, it makes your practice faster. Oh, and I shoot a lot of Polaroid, too. I have about five hundred Polaroids from my film that I hope to show soon.
I think there's a lot of scope in broadening the way videogames approach depictions of masculinity, which is still extremely narrow in scope. It would be nice to see a panel about gender in videogames and it not just be about one gender!
I'm definitely of a generation that's very influenced by videogames.
The intention was to shoot short films that can exist as shorts independently, but when I put them all together, there are things that echo through them like the dialogue repeats; the situation is always the same, the way they're shot is very simple and the same.
If you speak in a different accent, you begin to move in a slightly different way. You think in a slightly different way. It's part of trying to find what makes a character.
I know it's become an ongoing thing about whether videogames are art, and I think there's plenty of examples of things that use the form in a fascinating way. Things that are more surreal or artistic, like 'Katamari Damacy' or 'Vib-Ribbon.'
You go through slumps. The shot feels good in practice and looks good and for whatever reason in the game, they're in and out. Sometimes it gets frustrating, but for me, I've played in the league long enough to know you just have to put in the work in practice and shoot with confidence, shoot your way out of it.
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