A Quote by William Shatner
I think making a good film shot is joyful.
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I think it is always a long shot getting a book made into a film. Making that book into a film is going to be quite a challenge.
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.
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.
When I was in Hungary in December I was looking at student films and I could not tell which ones were shot on film and which ones were shot digitally. I think that is because the filmmakers in Europe go to four years of film school and learn the techniques.
I think good storytelling continues to teach you how it unfolds. And so I don't think that film and stage are mutually exclusive at all. It's just that you're always in a wide shot.
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.
'Red Knot' is a film that I shot in Antarctica almost three years ago on a boat. It was a film that was improvised and it had very interesting circumstances while making the film, obviously. We were on a small boat bobbing around in Antarctica. It was a really remarkable experience.
Even before 'Moon,' I did a short film called 'Whistle,' and it had a lot of the things that I thought I would need to be able to do on a feature film: I shot on location, there was special FX work, there was stunt work, we used squibs, I shot on 35 mm film.
During the entire process of making this film I never thought about whom I was making it for. I always thought that the film was for me, but I didn't think of any of that. I just did what I thought I had to do. I didn't think, "This is what children are going to think" or "This is what adults will understand."
I still to this day maintain that in that million-and-a-half feet of film [Heaven's Gate] that we shot, we thought we were making a great American film. I honestly believe that Michael [Cimino] was under a tremendous amount of pressure, and Michael's response to pressure from what I saw was to double down and to get more aggressive and to get more kind of arrogant, but I don't think it was real. I think it was the response to pressure.
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.
I think, to go to the bottom of it all, that the films I have made and my kind of film-making is a hybrid type of film-making - in that it isn't American, it isn't Italian.
I think you get out of film school what you put into it. If you don't care about making movies, film school will do you no good.
When the script was written, it was sent to me with asterisks marking where he felt a song would be appropriate. Before the film was shot, the score was written. I made a demo of it, so they lived with the music as they were making the film.
Most people look at a feature film and say, "It's just a movie." For me there is no border or wall between fiction and documentary filmmaking. In documentaries, you have to deal with real people and their real feelings - you are working with real laughter, happiness, sadness. To try to reflect the reality is not the same as reality itself. That's why I think that making a good documentary is much harder than making a good feature film.
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