A Quote by Roger Deakins
I feel every shot, every camera move, every frame, and the way you frame something and the choice of lens, I see all those things are really important on every shot.
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As a director, I'm not the one animating every frame, every shot. I'm moving around like a surgeon on rounds, or a farmer checking in on all the plants being grown, pruning and adjusting. For me, it's a very exciting job.
Every single frame, every single shot in the movie, has a digital effect.
Coming from the world of animation, every single line counts; every single gesture counts. You put thought into every single one of those things and the way a frame is composed.
I'd be lying if I said I had confidence in every choice I've made, that I have faith in every film I do on every shot.
After college, I really looked at every single shot that I shot. Pretty much every shot in my sophomore year and my junior year and just watched my form. I watched how I shot it from 3, and I just noticed I was a very undisciplined shooter.
The films I love are very precise, and every shot means something; every shot should convey something new.
Onstage, I enjoy the thrill of live performance - there is no substitute for that rush. On camera I enjoy the crafting of a scene, the widespread creative marksmanship happening all around you for every second of footage. Onstage you can suddenly feel solitary, like it's all on your shoulders, while on camera you feel like there are so many people working with you on every shot. Those are each unique and gratifying challenges.
You can feel righteous fury in every frame of The Magdalene Sisters. The movie is both a masterpiece and a holy hell: Watching it, you feel you're being punished for a crime you didn't commit. Which puts you, come to think of it, in the same frame of mind as those poor Magdalene girls.
Every patient is a consumer, and every consumer is a potential patient. What NantWorks is doing is building the world the way Da Vinci saw it, and augmenting every frame a human being sees as they work, live and play.
Every prop, every shot, every pearl that rolled across the floor was exactly how I wanted it to be.
Not every director does this, but I did: I made a list of every shot you're going to set up for every scene in the script.
Every breath you take and every move you make
Every bond you break, every step you take
I'll be watchin' you
Every single day and every word you say
Every game you play, every night you stay
I'll be watchin' you
Every man that tried to destroy the Government, every man that shot at the holy flag in heaven, every man that starved our soldiers... every man that wanted to burn the negro, every one that wanted to scatter yellow fever in the North, every man that opposed human liberty, that regarded the auction-block as an altar and the howling of the bloodhound as the music of the Union, every man who wept over the corpse of slavery, that thought lashes on the naked back were a legal tender for labour performed, every one willing to rob a mother of her child - every solitary one was a Democrat.
I don't worry about the last shot or the next shot. I concentrate. Every shot gets a clean slate. And when a shot is over, I wipe it out absolutely. Tell a joke or something. If you worry about how you looked, how well you did, you'll go insane.
I always feel like I just wanna go, and that's something that I'm learning every day - understanding to think more instead of just going because I see an advantage or I see that 'oh, I can make this move, I can make this shot.'
I saw in their eyes something I was to see over and over in every part of the nation- a burning desire to go, to move, to get under way, anyplace, away from any Here. They spoke quietly of how they wanted to go someday, to move about, free and unanchored, not toward something but away from something. I saw this look and heard this yearning everywhere in every states I visited. Nearly every American hungers to move.
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