A Quote by Roger Deakins
Partly why I love to operate is that I love to watch an actor within a shot. When you watch a shot, and you know that everything's come together, I feel I'm the first person watching it. I always get pleasure out of that.
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Some day we're gonna have interactive television where you can pick the shot that you want. You can watch defense, or you can watch the end-zone shot, or you can watch an isolated shot of Terance Mathis or whoever you want to. Because right now, the only thing that you watch is what the producer or director decides to show you.
That's a hard one because right now it seems that all I'm watching is Teletoons and Nickelodeon. You know what I love? I love Criminal Minds. I love CSI. Those are my kind of shows. I also love Modern Family...MasterChef, I'm huge into that. I'm a big Gordon Ramsay fan...I don't get a whole lot of time to watch anything but, if I can, those are some of the ones that I do tend to watch.
A lot of people say that I took the first shot for Bitcoin. The first person to walk through the door always gets shot, and then everyone else can come through.
Guilty pleasure implies that it's something that I feel guilty for watching... people tell me I should feel guilty for watching because I'm too old to watch it, but I don't give a damn: I love everything on Cartoon Network from 'Adventure Time' to 'The Adventures of Gumball', 'Teen Titans'... all those shows that are for my kids, I like those!
Every shot feels like the first shot of the day. If I'm on the range hitting shot after shot, I can hit them just as good as I did when I was 30. But out on the course, your body changes between shots. You get out of the cart, and you've got this 170-yard 5-iron over a bunker, and it goes about 138.
I love watching 'The Real Housewives of New York.' That's my guilty pleasure. But I don't even feel guilty. I can just watch it, zone out, and forget about my problems.
I love to kind of people watch; that's part of what I do as an actor and creative person and sort of step back and watch others.
I love watching film. I love watching stories. I watch the people in them... Even, sometimes, films that nobody else can watch - 'How could you look at that? It's lousy' - I can look at it and be totally into it.
I haven't watched that much TV, to be honest. To be honest, I don't watch that many films anymore - partly because I don't have time; secondly, because I watch a lot of sports, and I love watching sports.
I've been in love with basketball from the moment I shot my first shot, hanging out with my father. When I was a kid I would stay in the gym waiting for my dad to finish practicing. I was just shooting.
I have a rule now that I can only watch a movie twice. By the third time I was watching 'The Guest,' I was hating everything about it, but the first time, I loved it. The first time you watch it, you watch it as a whole. And the second time, I think you can learn a lot. By the third time, you are just picking everything apart.
Before I was shot, I always thought that I was more half-there than all-there - I always suspected that I was watching TV instead of living life. Right when I was being shot and ever since, I knew that I was watching television.
I don't study films particularly. I plan to direct, but I'm not watching film - I watch the entire film to see how the story goes, but I don't say, 'Oh, so he does a slow pan here, or he pulls here, watch the crane shot, or look at the composition,' because it's got to be my eye.
I grew up watching horror films from a very young age. My sister was never able to watch scary movies; I don't think she'll ever watch mine because she's just so bad at it. Its funny because I'm the complete opposite: I love to be scared. I love to have that fear before you go to bed, and you're like, 'Oh my God, please, nothing come out.'
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.
A lot of directors on a base level are fearful of actors and maybe even distrustful. I love the craft of acting and I love actors so I think they can probably sense that. They also know that I understand what their process is, having done it myself. The thing I come back to over and over again is that for most people who are not analyzing it from a critical point of view, most iconic film moments are actor moments. We show up to commune with another human being and their experience. We don't show up necessarily to watch a really cool dolly shot.
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