A Quote by Thelma Schoonmaker
[Martin] Scorsese says one of the great things he loves about it is how Mark can't get the right shot and he's killing people because he can't get the right shot. It's an example of what film-makers are like.
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Scripts are what matter. If you get the foundations right and then you get the right ingredients on top, you stand a shot... but if you get those foundations wrong, then you absolutely don't stand a shot. It's very rare-almost never-that a good film gets made from a bad screenplay.
People call you "director," but it really should be "economic manager." Because everything is "Well, we can do another take here, but then you're gonna lose that shot over there." Or "The sun's going down, sorry, you're outta luck. We can't afford to." You know? And meanwhile, how do you get the performer's performance? I'm thinking the whole time all about "How can I get my day done?" And my performances are primarily a result of casting the right people at the right time in the right parts. And then I do little modifications.
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.
We shot 'Party Girl' on film, and I remember being told, 'We need to get this in two takes because we don't have a lot of film in the mag right now!'
He's a great shot-blocker. So once you go in there, you've got to either get into his body and get an and-one, or you've got to drive and kick. It's not all about trying to force the shot over a shot-blocker like Nerlens Noel. You've got to kick it.
We just worked hard to not just get things right and authentic, but also to make it consistent and visually right. For instance, there are colours that aren't in the film that would have been there in reality. I think part of the look of the film not only has to do with the way it's shot and lit, but also the lack of certain colours that give it a softness which really suits it because there's more focus on the characters. For instance, there's no yellow at all until we get to Miss Stubbs' flat at the very end.
When you have the catalog of work, it doesn't feel like you've got one shot to get it right; it's just like, you're making a new document of something at the present time, and it's a living thing, and it changes. It's been cool to help other people make their records, to produce. You get a crash course in things that you don't get as the artist.
Most folks here got rules 'bout trespassing. Warning shot's fired right close to the head. Get they's attention. Next shot gets a lot more personal. Now I'm too old to waste time firing a warning shot.
I love Martin Scorsese, but there's another indication of what The Oscars are all about. They've ignored Martin Scorsese for going on 35 years now, and I wouldn't be surprised if they passed him over again. He'll get one of The Oscars they give you at the end of your life because they feel guilty for never giving you an Oscar.
Well, outside of the tone, the big thing that I gained from working on horror film was how to shoot really quickly with no money. I learned how to be able to go into a production and know exactly what shot I need to get and how the shot needs to look and what performance I need to get out of the talent at a very quick pace.
The time to hurry is in between shots. It's not over the shot. It's timing how people walk. You have to add that to the equation. If you've got somebody walking slow and they get up to the shot and take their 20 seconds, what's the aggregate time for them to hit that shot in between shots? That's what really matters. It's not the shot at hand.
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.
Golf is social. It brings a lot of people together. And the great thing about a scramble, there's less pressure because you don't feel like every shot has to be your shot.
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 can get a title shot any time I want to. They know I can beat 110% of the champions out there right now. I just have to be motivated. Most of them are going to be trying to not give me a shot.
You don't really know how your film is going to turn out, but you can give it your best shot and hope the audience loves it. This has been my approach right from the beginning, and it's helped me a lot in my journey. All you can do is give the film your everything.
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