A Quote by Vetrimaaran

I don't believe in one slow panning-shot to show a place. It should unfurl in the story itself. — © Vetrimaaran
I don't believe in one slow panning-shot to show a place. It should unfurl in the story itself.
Notice how every science fiction movie or television show starts with a shot of the location where the story is about to occur. Movies that take place in outer space always start with a shot of stars and a starship. Movies that take place on another world always start with a shot of that planet. This is to let you know where you are. Novels and stories start the same way. You have to give the reader a sense of where he is and what's happening as quickly as possible. You don't want to start the story by confusing the reader.
New grief, when it came, you could feel filling the air. It took up all the room there was. The place itself, the whole place, became a reminder of the absence of the hurt or the dead or the missing one. I don't believe that grief passes away. It has its time and place forever. More time is added to it; it becomes a story within a story. But grief and griever alike endure.
I believe that shows should be shot where they take place.
Memory is the most malicious cutter of all, preserving, recasting, panning in slow motion across the awful bits so that we retain every detail.
I went in and said, "If I see one more gratuitous shot of a woman's body, I'm quitting . . . " I think the show should be emotional story lines, morals, real- life heroes. And that's what we're doing
The only story that seems worth writing is a cry, a shot, a scream. A story should break the reader's heart.
It is gorgeously shot, and Andrew believes that the old school way of making films in the best way. Meaning: you have a story, and you stick to the story. You don't change and alter the story because of people who've invested in it and what to put product in a shot.
I worked on a weekly one-hour show live from Los Angeles called 'The Dixie Boat Show.' We only had one camera, so there was a lot of panning because it was always on, and anything that went wrong, from actors fluffing their lines to sets falling down in mid-scene, you let it go by.
Visually, I want to try everything. But I believe that every shot of my films really expresses what I think about the story and the character. The most important thing is the story, not the images.
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 place, once unique, itself, is strangely shot through with radiations from every other place. ‘There’ was then; ‘here’ is now.
There's nothing worse than an ostentatious shot or some lighting that draws attention to itself, and you might go, 'Oh, wow, that's spectacular.' Or that spectacular shot, a big crane move, or something. But it's not necessarily right for the film — you jump out, you think about the surface, and you don't stay in there with the characters and the story.
Most great filmmakers are good at place. Like how people say, like, "The city itself is a character in the movie," you know? I'm so interior. I always forget there's such a thing as an exterior wide shot, where you can see where someone is. As opposed to just: how can we show what this person is thinking, in an abstract way that is felt?
We should all believe in something, and I believe it's time for another shot of tequila.
For the longest time, marriage has had a guilty conscience about itself. Should we believe it?--Yes, we should believe it.
Hopping around time in a non-linear storytelling fashion (on 'Lost') allows you to bring back characters who are dead and, in some cases, buried. Now that time travel is the story itself, it opens up even more doors. So when an actor reads that they're getting killed off on the show, they're basically, like, 'Okay, but should I still bother to show up next week?'
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