A Quote by Stanley Tucci
I'm interested in how people shoot because I have a very specific way of shooting and I'm fascinated by the way other people shoot films, particularly if they're smart and talented.
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I get very close to people when I'm shooting them. We would go and shoot a scene with Lucy, and I would spend the whole time telling her about Rob. Then I would go shoot a scene with Rob and tell him all about Lucy. Eventually they wanted to know each other. These are two people who would never have overlapped in any other way or context. We brought to the garden at Rob's office and just sat and watched what unfolded. I remember weeping behind the camera, because I was so moved by the way they connected.
I love the digital camera because it makes shooting easier and economical. I shoot fast, and I can shoot a lot. I shoot rehearsal; I just keep on shooting nonstop.
You do need to edit yourself as you shoot because you have fewer options in a smaller movie. In other words, when I'm shooting a big movie, and I got an 85 day shooting schedule or more, then I'm saying I have enough time to shoot option A and B and C and D for every scene.
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 think you have to have a real point of view that's your own. You have to tell it your way. And, I think that it's a mistake to shoot for a specific magazine's point of view because it's never going to be as good. You have to shoot for yourself and photograph [ the way] you believe it.
I'm really specific in the way that I shoot. I've always had a very good sense of what I need in the editing room. I used to shoot in a way that drew more attention to the camera and I've tried, in each film, to draw less and less attention to the camera. I think when you pay attention to the shots, you're aware of the fact that there's a director.
The bigger budget films only shoot about a page or two a day, so there's very specific amount of time spent on detail and getting each tidbit exactly how they want it. In a movie or TV show, you shoot eight or ten pages and you aren't afforded as much time to do each scene.
I try not to tell students where to shoot, when to shoot, or what to shoot. I feel finding the picture is the most important part of being a photographer. The actual shooting is of lesser importance.
When I am shooting a film I never think of how I want to shoot something; I simply shoot it.
I can't relate to the people who shoot wolves. I'm guessing the person who shot Wolf 06 wouldn't relate much to me either. You let people go out and shoot hundreds of wolves and watch violent movies, and then you're surprised when they go on a rampage shooting other humans. You can't separate violence like that.
Shooting the ball is a part of the game. Everybody can shoot in their own way. Not everybody can make. But everybody can shoot.
Usually, when you do a period movie, you just recreate what you are shooting. You don't recreate the way you shoot it. I think I did the same thing here as I did in the OSS 117 movies. I recreated the way to shoot that period, because to me, like what I was saying about the Steadicam, there's no sense to do a Steadicam shot in the 1920s because you have never seen the '20s like that. You can't believe there was a Steadicam in the 1920s. I believe it's a continuation of the OSS 117 in a way but without the irony.
I never casually shoot shots, ever. I shoot the same way every time. I shoot the same shots that I'd shoot during the game.
Any man can shoot a gun, and with practice he can draw fast and shoot accurately, but that makes no difference. What counts is how you stand up when somebody is shooting back at you.
I like to try to shoot in the city in a way that allows the city to go about its business while we're shooting, and that's always a challenge because unfortunately people on the street don't know not to look in the camera or interact with the actors.
I like to try to shoot in the city in a way that allows the city to go about its business while we're shooting, and that's always a challenge because, unfortunately, people on the street don't know not to look in the camera or interact with the actors.
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