A Quote by Vic Morrow
Last summer a second unit production crew went to France and shot scenes for several of this seasons episodes. They shot costumed actors in and around real castles and landmarks, we couldnt possibly have duplicated here in Hollywood.
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Last summer a second unit production crew went to France and shot scenes for several of this season's episodes. They shot costumed actors in and around real castles and landmarks, we couldn't possibly have duplicated here in Hollywood.
And when I say [M2 was] lo-fi production, it was so great and grimy. I was used to that world anyway, because we shot in bars, we shot in thrift shops, we shot on the street. And the bars, they would have just opened, and still there was barf on the floor and beer. We certainly kept it real. It was a small crew.
I try to respect the rules of the silent movies and I tried to make signification to make sense, and also the crew were very good and the fact that we shot in LA in the real Hollywood, studios and houses. We shot in the bed of Mary Pickford, and you cannot be any more accurate than that, so that helped a lot.
I love the rehearsal, as long as it's not over-rehearsed. I love it when the actors can rehearse until we feel really comfortable, and then the crew come in and shoot it. I'm not especially a big fan of rehearsing with the crew and the crew rehearsing and, "Let's rehearse this tracking dolly shot 25 times until it's just right." Television has to be shot a certain way to have a certain look. And sometimes the tried-and-true method is the best.
I just shot my first dramatic movie in France, and for those dramatic scenes that I shot, I would not want to look at those. There's a certain mindset you have to put yourself into for those scenes, and looking at the monitor would just take you out of it.
Of all the things in sports, getting a sack is one of the hardest things to do. It's like a last-second, game-winning shot in the NBA. A guy hits the last-second shot, and the fans scream. For us (defensive ends), the sack is everything. It's hard to get there. But once you do, there's nothing like it.
By the time I got to 'St Vincent,' I had shot so many scenarios I was ready for anything - I've shot kangaroos, I've shot dogs, cats, crowds, fight scenes, stunts, comedy, drama, handheld, dolly, helicopter, crane - I just felt that there was nothing I was unprepared for.
If you're playing a shot and your peripheral vision picks up a player moving as you play the shot, if your vision goes from the object ball to what they're doing, you can miss the shot by several inches.
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.
In going for the last shot of the game most people wait too long to take the shot. Give yourself a chance to get the first shot and tap the ball in. Your players are normally inside the defense.
Actors play a small part in all the things that go into the making of a movie. I want to know about pre-production, post-production, shot divisions - everything.
He knows all the golf lingo. You know? You hit your ball, he's like "there's a golf shot. That's a golf shot." Well of course it's a golf shot; I just hit a golf ball. You don't see Gretzky skating around going "there's a hockey shot, that's a hockey shot."
We do 32 episodes a season and will have shot 267 episodes by the end of the ninth season... It's impossible to sell that many episodes in the foreign market.
Usually, I don't revisit a scene once shot. However, in 'Gentleman,' every morning on the sets, I had to revisit the last four scenes and then shoot for the next set of scenes.
I'm 24, which I know doesn't sound very old. But in the world of gymnastics it is. The Tokyo Games are my last shot to compete as a gymnast for Team USA, and my last shot at winning a gold medal.
My cameraman and I devised a method, which we started using from my second film, which applies mainly to day scenes shot in the studio, where we used bounced light instead of direct light. We agreed with this thing of four or five shadows following the actors is dreadful.
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