A Quote by Richard LaGravenese

I've always shot on film, but the times are changing. — © Richard LaGravenese
I've always shot on film, but the times are changing.
I've had the pleasure of working in the U.K. a few times before. I've shot a few movies there before. One of them was Neil Simon's 'London Suite,' which was based on his play. I also shot a film in Dublin, a little film with Bernadette Peters, called 'Bobbie's Girl.'
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.
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.
For me in a film, almost every scene you end up cutting a bit of the start of it out, and some of the end of it out because there's always...once you've rehearsed it and shot it, it feels like a couple of times and you can always get out sooner.
Even before 'Moon,' I did a short film called 'Whistle,' and it had a lot of the things that I thought I would need to be able to do on a feature film: I shot on location, there was special FX work, there was stunt work, we used squibs, I shot on 35 mm film.
Times were changing. Clothes were changing. Morals were changing. We went from romantic loves songs like I used to do to rock 'n roll. Now that has changed to rap. So, there's always a new generation with new music.
Reverse the ball one time for a good shot, two times for a great shot, three times for a layup.
You're constantly changing man. But the film's not changing. The film stays the same. That's the beautiful aspect of it.
Life. Unfair and painful at times. But always moving forward, always shifting,changing, with times relentless passage smoothing down jagged parts until it no longer hurts quite so much to breathe.
It's hard to make a film in Britain. It's hard to raise money. The best stuff that is shot on film in Britain is usually shot on film for television.
Times are changing, and it's catching on that the roles on TV and film need to reflect its diverse viewers.
But in film you always watch situations or stories that you really have no relation to. A lot of times just because there's no personal connection doesn't mean you can't connect with the film or the characters in the film.
All my films I have shot in chronological order - always. And the reason is that there's a moment that the screenplay is the notion of the film. But when you start doing a film... the work itself starts being transformed, and you have to surrender.
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.
Even if you try to copy a film shot by shot, you still can't. It's still your own film.
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.
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