A Quote by Rachel Morrison
It's always a challenge to shoot a period film and not have it look like you hit the tea stain button in post.
Related Quotes
For me, the challenge of a period film is that, unlike a contemporary film where the character can be very free-form when it comes to the acting, there's a burden to acting in a period film because you have to stay within the character's historical background and the gestures of certain periods.
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.
TV is like a school. It is easy to shoot for a film. In movies, you have a definite start and end. You know your character is there for a particular period.
I like to try to shoot in the city in a way that allows the city to go about its business while we're shooting, and that's always a challenge because, unfortunately, people on the street don't know not to look in the camera or interact with the actors.
I like to try to shoot in the city in a way that allows the city to go about its business while we're shooting, and that's always a challenge because unfortunately people on the street don't know not to look in the camera or interact with the actors.
You know when I shoot with digital capture, I look for the mistake. When I shoot with film I embrace it.
He hit the post, and after the game people will say, well, he hit the post.
When you are shooting over a period of six months, you tend to forget how dark or bright it was. And when you are using different technologies, having a look book helps during the final grading of the film. So you can design what the film is going to look like even before the colouring process begins.
Kaante' will help the film industry. Very few films are like this one - pre-production in Europe, one-schedule shoot, well planned post-production.
I always look for... hopefully look for a challenge. And you're always looking for the next summit to hit. Even if it's a personal one. It needn't be some great sense of monumental... It just has to be important to you and big enough and special enough and individual enough that you get up for it. And that can be anything.
The condition of the United States in the post-postmodern, or post-post-irony period. It's what the country will become when there is nothing left but mediated images of its substance.
There is always pressure. If you make a flop film then you are under pressure to make a hit film. If you make a hit film then you are under pressure to surpass your own standard or at least deliver another hit because the audience also has expectations.
One thing that the audience, and perhaps critics, aren't aware of is that, especially in a film like 'Moonlight,' you always shoot a lot more footage than makes the cut of the film.
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 feel like I don't hit the radio button ever - or not enough, even on the good stuff. I do shout some stuff when I'm mad at myself, but I'm pretty good about not hitting the radio button.
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