A Quote by Takashi Miike
For many years, I was on working on films which were so small of a budget that I could not even build a set. So, when I was finally able to work on set, it was a rewarding moment. I felt the same feeling when the camera changed from 16 mm to 35 mm.
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Once you change the technology - from a film camera to a video camera, or from an 8-mm camera to 16 mm - you change completely the content. With 8 mm, a leaf on a tree will be made up of maybe four grains. So it's very impressionistic, almost like Seurat. If you switch to 16 mm, the technology gives you hundreds of grains on that leaf.
I think the equipment you use has a real, visible influence on the character of your photography. You're going to work differently, and make different kinds of pictures, if you have to set up a view camera on a tripod than if you're Lee Friedlander with handheld 35 mm rangefinder. But fundamentally, vision is not about which camera or how many megapixels you have, it's about what you find important. It's all about ideas.
My lens of choice was always the 35 mm. It was more environmental. You can't come in closer with the 35 mm.
I started making little films with a 16 mm camera as an undergraduate at Yale. My first job out of college was 'assistant editor' on a forgettable low budget feature.
For me, couture is like 35 mm. film. It's so important we school ourselves to see real quality. In a couture garment, as in a 35 mm. film, you really feel the life of the people who made it. In high-street fashion, it's different. There's no risk.
I was known as a 35-mm photographer with a view-camera mentality.
I am not going to be dictated to by the size of the camera. I use everything from an 8 x 10 to a 35-mm. But I don't use these modern cameras which break down all the time !
Even before 'Moon,' I did a short film called 'Whistle,' and it had a lot of the things that I thought I would need to be able to do on a feature film: I shot on location, there was special FX work, there was stunt work, we used squibs, I shot on 35 mm film.
I was so besotted with '8½' that, when it was on TV, I used to take pictures with my 35-mm. camera of the frames of the film. That was the first time I'd ever really seen Italians on screen.
When we were cutting 'Raging Bull,' Martin Scorsese was watching 'The Films of Hoffmann' on a 16-mm print over and over and over again.
Wanting to take a light camera with me when I climb or do mountain runs has kept me using exclusively 35 mm.
People talk about the difference between working on stage and working on film. I think you could say that there are as many differences between working on low budget films and working on big budget films. You really are doing the same thing, but at the same time you're doing something vastly different as well.
A couple of years ago, right before I made 'Down to You,' there was a moment when I questioned what I was doing and if it meant anything. I felt like I wasn't accomplishing anything, that the goals I'd set were silly goals. Finally, I realized I just loved acting. It was a very clear moment, and my whole life changed then.
Small films, made on shoe-string budget work in big centres, and for that a substantial amount of budget should be set aside for marketing.
Somebody broke into my house once, this is a good time to call the police, but mm mm, nope. The house was too nice. It was a real nice house, but they'd never believe i lived in it. They'd be like 'He's still here!
Once we were on the set, we each did different kinds of work. I was doing more the technical stuff, the framing and the camera work, and she was working more with the actors. Marjane [Satrapi] and I don't stop speaking once we're on the set. We continue to talk. We define what our roles are going to be on set, because to have a snake with two heads is silly.
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