A Quote by Sarah Chalke

I lived in Vancouver, where they film so many things. So it gave me a good shot at it. — © Sarah Chalke
I lived in Vancouver, where they film so many things. So it gave me a good shot at it.
It's not unknown that Vancouver is a huge destination for television and film. It has been for many years. It just seems to be that I'm drawn to the show that shoots in Vancouver.
I was down in Tampa and it just wasn't a good setup for me, all things considered. But it also gave me the opportunity to get out of there and kind of start over. The Giants, fortunately for me, gave me the opportunity, another shot. I'm just trying to make the most of it.
I was in Milan, and somebody gave me a Trussardi diary, and I thought 'Genius.' Inside I put the Polaroids, how much film I shot, who I shot with. This way, for billing later on, I had all the information.
50 Cent is a hero to me because he's overcome so many things. He's been shot nine times and lived. I had a cousin got shot once in the ankle. Dead. I had to go to the funeral. I was mad. Man, you ain't hard! You ain't hard!
I'm from Vancouver and friends of mine will shoot something up in Vancouver and they'll be like, 'Ugh.' They've never been to Vancouver and they're like, 'They got me stuck in Vancouver for three months.' I'm like, 'No, you're being set free. It's one of the most livable cities in the entire world.'
When the script was written, it was sent to me with asterisks marking where he felt a song would be appropriate. Before the film was shot, the score was written. I made a demo of it, so they lived with the music as they were making the film.
When the film [Certified Copy] was in the Cannes Festival, I realized that the fact of having it shot in a different culture, in a different language, in a different setting, that wasn't mine and that I didn't belong to, gave me a totally different relationship to the film. When I was sitting in the audience during the official screening in Cannes, I didn't feel that it was my film.
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.
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 started modeling when I was 16. The odds were against me. At 5' 8, I was shorter than most girls in the business. Still, I gave it a shot, and like with most things in my life, I never gave up.
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.
[After Easy Rider] I couldn't get another movie, so I lived in Mexico City for a couple of years. I lived in Paris for a couple of years. I didn't take any photographs, and then I went to Japan and saw a Nikon used. I bought it, and I just started, like an alcoholic. I shot 300 rolls of film. That was the beginning of me starting again.
It feels good when it helps to get a good seat for a football game. But it never helped me make a good film or a good shot in a polo game, or command the obedience of my daughter. It doesn
'One Tree Hill' gave me my first shot into acting, and they gave me the biggest chance, and that's something that I'll always respect and be grateful for.
So though there are many things I would have done differently, I submit to God's sovereignty and His purpose in my life and I thank Him that He brought me the way He brought me and gave me what He gave me when He thought I could handle it.
There's an ecstasy about doing something really good on film: the composition of a shot, the drama within the shot, the texture... It's palpable.
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