A Quote by Saul Bass

Hitchcock loved long convoluted shots that contained a lot of tracking and camera moves. — © Saul Bass
Hitchcock loved long convoluted shots that contained a lot of tracking and camera moves.
I don't write tracking shots in my screenplays or any camera directions, but I do try to give a sense of how the action is moving.
[on his use of tracking shots throughout his 50-year career] There's always a certain amount of camera improvisation.
If I made a musical in the beginning of my career, it would have been crane shots and tracking shots and people coming out of cakes and whatever, but these techniques are something that I've left behind me.
If I made a musical in the beginning of my career, it would have been crane shots and tracking shots and people coming out of cakes and whatever, but these techniques are something that I’ve left behind me.
It was more of me rushing my shots than anything. Thats the biggest thing for me. I was making good moves, but at the end of my moves, I was rushing all my shots. I learned a lesson.
The thing I loved about Alfred Hitchcock is that he left a lot of open ends there, a lot of clues that didn't really add up the way you think they would, and sometimes, not at all.
That is - the use of the subjective camera is an idea that's been around in movies for a long, long time. And it's an idea that was seized on very notably by Sam Fuller and by Alfred Hitchcock in two different very kind of - otherwise very different styles of filmmaking.
I shoot a lot of bank shots and a lot of shots around the perimeter. There's a lot of things I like to work on, but I know my bread and butter when it comes down to it, and that's in the post.
I do talk to individuals still in the business of tracking individuals in the homeland and abroad. A lot of them have felt that they were hanging on by their fingernails a bit in terms of tracking all the potential threats out there.
With 'Call Me by Your Name,' they locked off the camera and let scenes play out in long, wide shots to make them feel almost voyeuristic.
You don't have to hit perfect shots all the time here. The variety of shots you get to play, the shots you sometimes have to hit along the ground, it's just a lot of fun to me.
I've been feeling really comfortable on clay because I have more time to set up my forehand. I can use a lot of different shots - drop shots and high balls. You can mix up a lot of shots, so it's actually more fun to play on clay.
The correct method for tracking the stock market is to use semilogarithmic chart paper, since the market's history is sensibly related only on a percentage basis. The investor is concerned with percentage gain or loss, not the number of points traveled in a market average. Arithmetic scale is quite acceptable for tracking hourly waves. Channeling techniques work acceptably well on arithmetic scale with shorter term moves.
I know it's not particularly tech-savvy of me to suggest a camera that doesn't have a touchscreen, but I think when it comes to candid shots of nights out with friends, there's nothing better than a disposable camera.
I believe that good defense embodies seven cardinal principle: reduce the number of your opponent's shots; force your opponent into low percentage shots; control everything within 18 feet; eliminate second shots; no easy baskets; point the ball on all long shots; and prevent the ball from going into the pivot man.
Every photograph is a realization of one of the possibilities contained within the program of the camera. The number of such possibilities is large, but it is nevertheless finite. It is the sum of all those photographs that can be taken by a camera.
This site uses cookies to ensure you get the best experience. More info...
Got it!