A Quote by Sergio Leone

I've shot films in Africa. I've shot in America - English is not my language. — © Sergio Leone
I've shot films in Africa. I've shot in America - English is not my language.
I have always loved South Africa, where I shot 'Andaz' and 'No Entry.' Some of the biggest films of my career have been shot in Cape Town.
I did do an American pilot, but it wasnt shot in America, it was shot in South Africa. It was called The Philanthropist, and it was for NBC.
When you cut from a long shot to a close shot, you're doing it for a reason, or if you let something stay in long shot for a long take. On the short films, I was teaching myself how to express something personal cinematically, how to use the language of film the best I could.
Indian films have this obsession with hygienic clean spaces, even though the country's not so clean. They're either shot in the studios or shot in London, in America, in Switzerland - clean places. Everywhere except India.
My dad moved to London in his early 20s and didn't really go back. So the irony is I've spent lots and lots of time in Ireland, but not with my dad. I've shot films in Belfast, where he's from. And I've shot in Dun Laoghaire. Which is great. And I've shot in Dublin.
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.
There are many things that have stayed consistent. But the biggest change, of course, is technology, the way it's used, the way films are shot, the format that they're shot in, and the way films, of course, are edited. It's very different than it was in the past.
It comes to the point where, if a midrange shot is there, I'm going to take it. If I'm open, I have to shoot that shot. That's a great shot for the team and myself.
I've shot films in locations that have seemed haunted. I shot a film in a maximum-security prison in Russia. Part of it was on a psychiatric ward - there were definitely some creepy vibes there.
Anybody that shoots a hook shot, whatever hand, I jump up and cheer because it's the easiest shot, it's the best tweener shot.
I can tell by body language who wants a shot and who's going to make it and who's going to take a bad shot.
He knows all the golf lingo. You know? You hit your ball, he's like "there's a golf shot. That's a golf shot." Well of course it's a golf shot; I just hit a golf ball. You don't see Gretzky skating around going "there's a hockey shot, that's a hockey shot."
The major difference between the big shot and the little shot is the big shot is just a little shot who kept on shooting.
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 have been parts of some films in the South where I didn't expect certain shots to be shot in a certain way. I wasn't experienced enough; I was very naive. I didn't have the standing of an actor to say that I don't want to do this shot.
Every shot feels like the first shot of the day. If I'm on the range hitting shot after shot, I can hit them just as good as I did when I was 30. But out on the course, your body changes between shots. You get out of the cart, and you've got this 170-yard 5-iron over a bunker, and it goes about 138.
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