A Quote by Tilda Swinton

Working with the editor on the set means that it is possible to keep track, at every moment, of the exact temperature of the trajectory of the scene - and know precisely what is required to continue, or precede, the action already shot. Like building a giant jigsaw puzzle. This is a freeing procedure because one is divested of all the options that might otherwise hamper one's choices. Clarity is possible. And that means one can relax into each shot, knowing the clear boundaries of where it might end or begin. And with relaxation, comes play.
We are responsible for one another. Collectively so. The world is a joint effort. We might say it is like a giant puzzle, and each one of us is a very important and unique part of it. Collectively, we can unite and bring about a powerful change in the world. By working to raise our awareness to the highest possible level of spiritual understanding, we can begin to heal ourselves, then each other and the world.
There are moments in life where the question of knowing whether one might think otherwise than one thinks and perceive otherwise than one sees is indispensable if one is to continue to observe or reflect... What is philosophy today... if it does not consist in, instead of legitimizing what we already know, undertaking to know how and how far it might be possible to think otherwise?
Relaxation means allowing yourself to fall into a state where you are not doing anything, because if you are doing something, tension will continue. It is a state of non-doing. You simply relax and you enjoy the feeling of relaxation. Relax into yourself, just close your eyes, and listen to all that is happening all around. No need to feel anything as distraction. The moment you feel it is a distraction, you are denying God. This moment God has come to you as a bird. Don't deny.
Whether I'm acting or making it, at the end of the day it's telling the story; action, drama. You want the audience to feel it - the story, the action, the scene, or a particular shot. I just keep working on crafting my art, on how to make action movies.
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.
I come from a TV background, so for me this more like doing a freeing theatre piece because we'd go into a room and do the scene, instead of doing it as a wide shot, medium shot, and close up with only the odd line of dialogue.
As every golfer knows, no one ever lost his mind over one shot. It is rather the gradual process of shot after shot watching your score go to tatters - knowing that you have found a different way to bogey each hole.
Some shots, for me, are a good shot even if it's forced. The way it might look to a person watching, they might look at it like, 'That's a tough shot.' But for me, it's not a tough decision. I'm committed to those shots, and I spend time working on them.
The storyboard artists job is to plan out shot for shot the whole show, write all the dialog, and decide the mood, action, jokes, pacing, etc of every scene.
I did volleyball, basketball, and track all through high school. And then I went to junior college and I stuck with track because I was good at shot put and discus. And then I got a full ride to Fresno State for their track program. Shot put was my main thing. I was the five-time All-American, and I set a couple records.
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.
You can't create a movie as you think about it. And what's in the scene is not what's being seen. A shot always means something other than what it is. All are vehicles. A landscape is just a vehicle. The viewer might think different things, and I'm not going to intervene.
Letting go means we stop trying to force outcomes and make people behave. It means we give up resistance to the way things are, for the moment. It means we stop trying to do the impossible-controlling that which we cannot-and instead, focus on what is possible-which usually means taking care of ourselves. And we do this in gentleness, kindness, and love, as much as possible.
Having done Spaced, I can't even remember it being that difficult on Spaced, but we know what the end's going to be like. We know why we're putting in this amount of work, or why a shot might be particularly tricky, because we know that what we do is create a whole package. It's the writing, the performances, and the style of camerawork, that's what we're working toward, and we're prepared for that.
Each day means a new twenty-four hours. Each day means everything's possible again. You live in the moment, you die in the moment, you take it all one day at a time. -Day
I obviously hope that I can continue my career with McLaren but that might not be possible and if it isn't possible then I need to continue racing.
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