A Quote by Susan Sarandon
I'd have conversations with the camera crew about what was going on in the scene, so that they were prepared to shoot it. I love the fact that when you work, you create this tribe.
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The movie [Aquarius] is about love, ultimately, and it was made with love. There were a lot of parents in the crew, and they were the best crew I had ever worked with. Everybody knew the construction of each scene, and were completely invested in every shooting day.
If you can shoot well, all you need is a disposable, toy camera or a camera phone to create great work. If you're not talented, it doesn't matter if you buy a Nikon D3X or Leica; your work will still be uninspired.
I'm a visual filmmaker so the camera is a big part of my storytelling tool and it's something that I really rely on to tell a scene or create the suspense that I need and create the emotion of a scene or a sequence.
If you know how to shoot a scene, then you know how to shoot an action scene. If you've seen an action movie, and you watched it, and you paid attention to how scenes are constructed and where the camera is and how the camera moves, then you know how to do it.
Because of the way that I work with the actors and because a scene is not in this rigid and literal interpretation of something written, I can constantly change stuff, which means I can get a scene absolutely perfect, and then when we go to shoot it, the requirements of the shot mean it would be useful to extend the dialogue or take a line out or swap things around. So the camera doesn't serve the action. The action serves the camera. That's important. So it becomes more and more organic and integrated.
I feel like if you shoot one scene all day long or you take two days to do a scene, that scene is going to be stale.
One of the best side effects about working on 'Billions' that I did not anticipate were the number of conversations I had about gender identity with my fellow actors and also members of the crew. From the person holding the boom to the person wiring my microphone, just how many conversations I had with so many open minds and hearts.
Another mistake a director can make is not to be prepared, so you get there on the day to shoot the scene, and they don't know how it should be blocked, and they're not clear on how they want to do a scene.
Those who want to be serious photographers, you're really going to have to edit your work. You're going to have to understand what you're doing. You're going to have to not just shoot, shoot, shoot. To stop and look at your work is the most important thing you can do.
We were using a hand-held camera to film the scene when Morse collapses. The camera wouldn't start. Three times they said action and it still wouldn't work. To this day, they still don't know what was wrong.
There'll be moments when I'm out in the prison yard, chatting with the cast and the crew, getting ready to shoot a scene. And then I'll remember if I were actually an inmate, I'd only be out there an hour. The other 23 hours of the day, I'd be in my cell. It's kind of a downer.
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.
In a very real sense, all you do when you're shooting film or television is you shoot a scene, and then you shoot another scene, and then you shoot another scene.
I like the ending of the movie [War Horse], simply because it's such a demanding scene emotionally, and yet [the look] is all done on camera. I like the work not to be manipulated digitally. And it's all done on camera [in that scene].
The stage is that immediate rush of energy you get from the audience. Also, doing something in chronology - something that starts and finishes the same night. In television, you work toward the one scene, you shoot it, and then you have to forget about it because you have to worry about the next scene.
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.
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