A Quote by Tom Hooper
If you look at classic Hollywood films, they tend to shoot close-ups on quite long lenses and the background it out of focus. You know, it's just a mush.
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I don't care about Hollywood films. I'm not against Hollywood films, you know? Hollywood films were very good before, in the 1950s.
In putting setting to work, I like to think about long shots and close-ups. The long shot is the overall view of the place in which the characters live - the island, the town, the wide sweep of place. Then we narrow in. The close-up, the tight focus, makes the place different from anywhere else.
Serious films for grown-ups - 'Michael Clayton,' 'In the Valley of Elah,' 'A Mighty Heart' - these are big Hollywood films, but they have substance and craft and really beautiful performances.
If everyone worked with wide-angle lenses, I'd shoot all my films in 75mm, because I believe very strongly in the possibilities of the 75mm.
Obviously in the close-ups we bring extras around or we do it later, but them running in and the big shots, they don't know. They're just coming out.
My focus isn't Hollywood; my focus is using Hollywood as an example. Because what happens here does happen everywhere. It's just a really concentrated and tense version here.
I didn't start out thinking that I could ever make films. I started out being a film lover, loving films, and wanting to have a job that put me close to them and close to filmmakers and close to film sets.
This is a good look. I'm gonna mess him up," Pattinson praises Stewart. "And I'm just like, I don't know what's going on? Where am I? I just walked out of a flower bed in this scene as well.... I was standing in the flower bed and then walked out of it and then stopped and looked confused.... If I didn't have contact lenses on, that was a really spectacular look I just did.... I should have had million thoughts, like Hamlet.
I am an entrepreneur in the classic mold. No matter what I do - outside of sticking my tongue out - I tend to make money, and quite a bit in non-KISS stuff.
Grown-ups don't look like grown-ups on the inside either. Outside, they're big and thoughtless and they always know what they're doing. Inside, they look just like they always have. Like they did when they were your age. Truth is, there aren't any grown-ups. Not one, in the whole wide world.
You go through slumps. The shot feels good in practice and looks good and for whatever reason in the game, they're in and out. Sometimes it gets frustrating, but for me, I've played in the league long enough to know you just have to put in the work in practice and shoot with confidence, shoot your way out of it.
It's the most unrealistic thing you can do to shoot a close-up, and it's the most unrealistic place you can be as a performer. And yet actors grouse about having to do visual effect shots, but they love doing close-ups.
If you know how to shoot, and are quite ready to shoot, the chances are that you won't have to shoot.
I think Hollywood... well, there is no Hollywood anymore so let's just call it the mainstream since the business is no longer Hollywood producing its own films and then distributing, they just distribute.
This whole business of all these lenses is ridiculous. You know, it's like you have to capture your picture. You have to create it. You have to see it. You have to seize it and you have to move in to get it, so those lenses are just an escape of some sort or a shield.
I came out to Hollywood when I was just 18, and my dad, he was really into Hollywood and theater and art, and I guess growing up, he exposed me to a lot of culture, and I just started making Super-8 films in high school and decided I wanted to be a filmmaker.
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