A Quote by Satyajit Ray
Sometimes a director is making three films. Perhaps he is shooting a film in Madras and a film in Bombay and he can't leave Madras as some shooting has to be done, so he directs by telephone. The shooting takes place. On schedule.
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I shoot very little film. If you just do coverage you're shooting any number of potential films instead of just one, and I was shooting just one specific film. Film is cheap but time is expensive.
I was at a Madonna show many, many years ago and I was in the sweet spot and she came out and I mean it was the best part of the show. And I was shooting, shooting, shooting, shooting. And I'm like, "God, I must have shot a hundred pictures have I not run out of film?" And I opened the back of my camera and there was no film in there. So that happened to me only once.
I shot a lot of commercials and sometimes I enjoy the commercial shooting and sometimes I really hate it, but in thirty seconds or one minute, you can make some remarkable work shooting in one or two or three days.
I hate to write and spend months just waiting for the film to get financed. Then when you start preparing the film and you shoot it, you've already forgotten why you wanted to make the film in the first place. I like to have some kind of coherent energy that takes you through writing, preparing, shooting.
I'm a grafter, I like working, but like for The Curious Case of Benjamin Button, the film company only paid me for the shooting schedule, which was supposed to last six months. But it lasted 11 months and you don't get paid for extra shooting.
Whenever you take a subject you're obsessed with or that haunts you, and make a movie about it, you're converting it into work units that need to be completed. You gotta turn it into a treatment, a script, a grant application, a bunch of forms to be filled out, a shooting schedule, casting sessions, auditions, shooting, editing, music compositions, the film festival circuit, interviews even. And by the time you've finished the process you're so sick and tired by something that was once very precious to you that you're done with it.
If you make a film, that magic is not there, because you were there while shooting it. After writing a film and shooting it and being in the editing room every day, you can never see it clearly. I think other people's perception of your film is more valid than your own, because they have that ability to see it for the first time.
Making a mistake means overshooting a scene, shooting too many takes, for instance. Long after you've got it, you just keep shooting.
I'll need every ounce that I have to drive it through. Film and TV require that energy. Sometimes fight scenes can be pretty intense. When I was shooting 'Heaven' it was truly guerrilla film-making.
I'll need every ounce that I have to drive it through. Film and TV require that energy. Sometimes fight scenes can be pretty intense. When I was shooting "Heaven" it was truly guerrilla film-making.
We're still working out the details, but I'd be delighted to do the film. The problem at the moment is my busy schedule. Shooting on this film has been extended by a month, but I need to be in the U.S. by Dec. 20.
For the last 10 years, I've felt increasing pressure to stop shooting film and start shooting video, but I've never understood why. It's cheaper to work on film, it's far better looking, it's the technology that's been known and understood for a hundred years, and it's extremely reliable.
Though I am born into a film family, I hardly had much exposure to shooting during my growing
years. My first film actually taught me about the breakdown of shots in a film. My aim is to do three
memorable roles in the next five years; films I can be really proud of. And I want to work with the best.
Literally, people probably came up with a budget and said, 'It'll be cheaper if we cut down the prep,' but it's not cheaper, because then you're shooting, you're fumbling through the movie and you are prepping at three times the cost because you're quadruple-time as you're shooting and then prepping after you're done shooting.
It becomes a lot better for the actors when we're 'shooting, shooting, shooting,' instead of waiting around in a trailer for something to happen.
I'm not very aware of styles. We never talk about styles before we start shooting, or even during shooting, because I think the film will bring you there.
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