A Quote by Michelangelo Antonioni
When a scene is being shot, it is very difficult to know what one wants it to say, and even if one does know, there is always a difference between what one has in mind and the result on film.
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The way I work is, I always compose a shot list before I talk to anybody, including my DP. So I'll spend a couple months basically creating the movie in my head, so I have a very solid film in my head, where I know every shot, and I know what the transitions between scenes are.
It is very, very, very difficult for an American actor who wants a film career to be open about his sexuality. And even more difficult for a woman if she's lesbian. It`s very distressing to me that that should be the case. The film industry is very old fashioned in California.
Mothers know the difference between a broth and a consommé. And the difference between damask and chintz. And the difference between vinyl and Naugahyde. And the difference between a house and a home. And the difference between a romantic and a stalker. And the difference between a rock and a hard place.
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.
The most I've ever done was twenty-something, but that's wasn't because I wanted to. I feel like to me it's usually somewhere between two and- no, it's very hard to say because it really depends up on the shot, you know? If it's a complicated master shot and you know that this is the only thing that you're doing for that scene, a complicated one-er, you're going to maybe end up doing a few more takes than you normally would. But I'm not a big believer in doing tons and tons and tons of takes.
It does not bother me that some say I'm dull and boring because the people that do know me will tell you a different story. It is very difficult to be open with people you don't know. There is nothing I can do about the fact that the real me does not get across and it is probably difficult to know the real me.
People always want to know how you know. And knowing in your heart is very hard to describe. I think so often, we're trying to understand something with our mind. But, actually, the Bible teaches us that much of what God does in our life will be difficult to understand with the mind.
Everyone always wants to talk about 'True Blood' and 'Battlestar Galactica' - no one's even interested in 'Durham County.' It blew my mind when I came to Canada and no one asked me about the show. So many people didn't even know about it. They didn't even know it was on the air! It's very curious to me.
I know when I watch a film at this point, if I completely lose myself in the characters and the story and the world of the film I know that it's at least in my opinion, that was great. Otherwise I'm thinking: "Oh I know they were just doing A, B and C, right before they walked into the scene, then the camera was there, then they probably took the shot from this reverse close-up and moved it into this." When all of that drops away then I'm like: "Okay this was phenomenal, this was fantastic." I mean, any film or TV performance in general is probably good.
Feelings dwell in man; but man dwells in his love. That is no metaphor, but the actual truth. Love does not cling to the I in such a way as to have the Thou only for its " content," its object; but love is between I and Thou. The man who does not know this, with his very being know this, does not know love; even though he ascribes to it the feelings he lives through, experiences, enjoys, and expresses.
Whenever I get to talk to young girls like me I always say, 'The only difference between you and I is that I know that I'm special and you just don't know that you are yet.'
It's difficult to keep anything fresh for an audience these days. With technology being what it is people seem to know everything there is to know about a film before you've even made it.
So the most difficult thing is always to keep your beginner's mind. There is no need to have a deep understanding of Zen. Even though you read much Zen literature, you must read each sentence with a fresh mind. You should not say, "I know what Zen is," or "I have attained enlightenment." This is also the real secret of the arts: always be a beginner. Be very very careful about this point. If you start to practice zazen, you will begin to appreciate your beginner's mind. It is the secret of Zen practice.
I know the difference between right and wrong, and I can tell good from bad. But I also know that the more difficult decisions come when we have to choose between good and better. The toughest calls of all are those we have to make between bad and worse.
I am certain that children always know more than they are able to tell, and that makes the big difference between them and adults, who, at best, know only a fraction of what they say. The reason is simply that children know everything with their whole beings, while we know it only with our heads.
If you do an original film and you want to cut a scene out you do it. But when you do a shot by shot remake you don't have that option and every scene has to work again.
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