A Quote by William Shatner
There's an ecstasy about doing something really good on film: the composition of a shot, the drama within the shot, the texture... It's palpable.
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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 shot film with the Coen brothers on 'Hail, Caesar!' That's fine. I'm sentimental about film; I've shot film for forty years or something.
When you cut from a long shot to a close shot, you're doing it for a reason, or if you let something stay in long shot for a long take. On the short films, I was teaching myself how to express something personal cinematically, how to use the language of film the best I could.
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.
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.
I mean, one shot you treat like you have forty little matches instead of one forty shot match. It makes all the difference in the world. It's easier to just forget about a not so good shot.
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.
I don't think the idea of working in Hollywood really exists anymore. I think you work in films, and where the film is shot is where it's shot. The studio system doesn't really exist.
I shot my undergraduate work on 35mm. I love the way it looks, but I haven't shot film in a while. If you can avoid scanning, it makes your practice faster. Oh, and I shoot a lot of Polaroid, too. I have about five hundred Polaroids from my film that I hope to show soon.
I think that a lot of the most talented and driven people, they're not super deterred by failure. So if you put out a really big challenge, I think they get reality excited by that - they say, 'Hey, why not, let's go give it a shot, and if we fall short on that, at least we took a shot at doing something really important and meaningful.'
I never start editing a film until it's completely shot; I don't edit along the way, ever. When it's finished I come in here [screening room] and we start with reel one, scene one and start editing shot by shot by shot until we're finished.
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.
I think he takes a good shot, I take a good shot too, but taking too many shots is not good for any fighter. And it's not really a reputation you want.
If you want to be a good shot-blocker, you're going to be a good shot-blocker. It's simple. You can't teach it. You're either good at it, or you're not good at it. If you're good at it, then be really good at it.
I'd like [Santa Claus] to give Wes Anderson, the director, enough money in his next budget for an aerial shot - just a little copter shot. He really wanted this one helicopter shot, and Disney wouldn't give him the money. Just wouldn't give him the money. Every day, he was talking to the studio about this helicopter shot.
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.
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