A Quote by Roger Deakins

If you shoot with a billion cameras, then there's no perspective. You want to use one shot at a time, so it's better to discover what that is before you shoot, rather than trying to make something in the cutting room, and then it just becomes generic.
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.
Haven't you ever heard of the saying, "If you want to shoot the general, first shoot the horse!"?' --Lin If you wanna shoot the general, then you should just SHOOT THE GENERAL!' --Ed
I like to use a bit of chaos when I shoot. I think it may be something from the way I shot my first film - I was very scared, of course, and I prepared everything, I wanted to make sure that the characters did the right thing at the right time on the storyboard. But then I realised that in life, there is so much more than what you can predict or write in advance, that when you shoot the story, it's good to leave some gaps where you lose control. I think this combination of chaos and organisation gives a kind of quality.
I try and shoot as often as I can, I cross shoot. I have at least two cameras rolling at the same time. So I'll have two actors or two sets of actors at a time so everybody's basically on camera. So when they improvise we have everybody's coverage. And you can then go in the editing room and find the energy still stays there.
I used to catch and take a big dip down and then finally I'd try to shoot. That first year playing the NBA, I was realizing how little time you have to shoot the ball. The time you have from when you catch it to the guy closing out is just a split second. So I had to figure out a way to get my shot off quicker. Then it was just repetition.
I don't like to be on a set and wait three hours, just to make some lighting adjustments. I like to shoot. That's what I want to do. I'd rather shoot something dumb than wait.
We shoot with three cameras, try to shoot both sides of coverage if possible. That allows the actors to overlap and to find moments that feel more authentic and real than what you sometimes would normally get in a scripted drama that's shot more classically. And that's something in 'Parenthood' that has evolved.
When I make a documentary I shoot very little but I hang around with my camera for a long time. I look at the people for a long time through the loop and then when I see something interested then I shoot. I think that I have become very sensitive to these things.
For a period of time, I carried cameras with me wherever I went, and then I realized that my interest in photography was turning toward the conceptual. So I wasn't carrying around cameras shooting stuff, I was developing concepts about what I wanted to shoot. And then I'd get the camera angle and do the job
For a period of time, I carried cameras with me wherever I went, and then I realized that my interest in photography was turning toward the conceptual. So I wasn't carrying around cameras shooting stuff, I was developing concepts about what I wanted to shoot. And then I'd get the camera angle and do the job.
If I'm shooting actually a live-action movie and I feel like I can get the shots that I need with the existing 3D cameras, then I see there is no reason to not use those-to not shoot it in 3D. But there are limitations to the 3D cameras in terms of the amount of them, in terms of the size of them, in terms of where you can actually shoot them. There are definitely limitations so you have to weigh the costs. And you have to weigh also what ultimately what creatively you want to get.
When you're working with a script and you have three pages for that day, you have to shoot that. It can become sort of like a prison, because by the time you've shot what you need to shoot, you don't really have time to think or shoot anything else.
As an actor I want to do as many takes as I can. I wanna shoot the scene... or shoot the shot 'til they make me quit.
While you're making the film and working with the actors, if you want to have a little room to breathe and experiment and play, it grows, and you want that to happen. It's not enough to just shoot the script. You've gotta come up with new inspiration, as you shoot it. There's gotta be room for that and time for that, so it grows.
I get very, very anxious on the set. I have a thousand ideas and I don't censor myself. I wind up cutting some of them out in the editing room... I shoot [needless footage] and then don't use later on in the process.
There's just some kind of men you have to shoot before you can say hidy to 'em. Even then, they ain't worth the bullet it takes to shoot 'em.
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