A Quote by Raoul Peck

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 come from the school of thought that feels that if you can shoot film, you should shoot 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.
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.
Make film, shoot film, run film. Do something. Make film. Shoot anything.
I would love to shoot on film, but you can't really shoot a lot of footage on film, and you can't print a lot of it.
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.
You know when I shoot with digital capture, I look for the mistake. When I shoot with film I embrace it.
When I am shooting a film I never think of how I want to shoot something; I simply shoot it.
In terms of digital photography, I continue to print and use film for the most part. I still shoot with film, 21/4 film specifically, and I love it. I love it because I know what it does, how it really responds to light.
I hate to write and spend months just waiting for the film to get financed. Then when you start preparing the film and you shoot it, you've already forgotten why you wanted to make the film in the first place. I like to have some kind of coherent energy that takes you through writing, preparing, shooting.
One day, I came to perform after a film shoot, and I was told that the regular actress couldn't come, and that my wife will be playing the character of my sister-in-law!
A lot of directors, they don't go into the editing room during the shoot. When they come back, they've forgotten what they've shot. That's why their films come out a year after they shoot them.
If there's any questions, I still will shoot him a text or shoot him a call and he'll definitely help me out. That's the type of person Richard Sherman is. He's always willing to help.
There's a film you write, there's a film you shoot, and there's a film that you cut - and they're all different.
Not only do I look at the playback with the actors, but I look at the on-set assembly footage with the sequences with my actors as well. These are the reasons why I take twice as much time to shoot a film in Korea. Thinking back, I remember on my first ever Korean film, I never used any playback or on-set assembly, so all I had to do was to tell myself it's just like making my first ever Korean-language film. After that, I felt right at home.
'Tangerine' being my fifth film, I was out of favors. I couldn't afford to get the Arri Alexa or RED cameras and I definitely couldn't shoot on film.
This site uses cookies to ensure you get the best experience. More info...
Got it!