A Quote by Susanne Bier
I hate when the sun is high and there are no shadows. If I could do super high-budget movies, I would only shoot when the sun starts to get low - but you can't just shoot for four hours every day.
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Going to do it to you sweet banana, like it's never been done, and we'll get high, high, high, in the mid-day sun.
There used to be a period of time when you'd shoot big studio movies where you would shoot a couple of pages a day. For a TV show, you've gotta shoot seven to nine. The schedules are much more compressed.
I take a sun bath and listen to the hours, formulating, and disintegrating under the pines, and smell the resiny hardihood of the high noon hours. The world is lost in a blue haze of distances, and the immediate sleeps in a thin and finite sun.
We [Raymond and Meursault] stared at each other without blinking, and everything came to a stop there between the sea, the sand, and the sun, and the double silence of the flute and the water. It was then that I realized that you could either shoot or not shoot.
When every guy on the team and the coaching staff is telling you, 'shoot it, shoot it,' obviously I've always known I could shoot it, but it was more of a trying to get the guys involved and being that middle man.
A sitcom, you rehearse for four days of the week and then you shoot it all in one night in front of a studio audience. It's like a play every week, you just shoot it over a seven or eight-day period with a single camera. I enjoy this format of show much more. I'm a feature guy. I like making movies. So the four camera thing I didn't love it that much. I found myself slightly out of my element.
Patience. I colored patience gray, hung over with black clouds. I colored hope yellow, just like the sun we could see for a few short morning hours. Too soon the sun rose high in the sky & disappeared from view, leaving us bereft and staring at blue.
When you're shooting super-low-budget - we had 20 days to shoot 'Diary,' and a little over $2 - time is money.
The only real difference between shooting 'Firefly' and 'Serenity' was that on 'Serenity,' we had a lot more freedom with time. When you're shooting a television show, you usually have anywhere between six and nine pages of script to shoot a day, and only twelve hours to do it. But with 'Serenity,' we could shoot one scene all day long.
Japanese animation tends to need high budgets. If I have a high budget for a movie, I usually make animation, but if the project has a low budget, then I would ask the producer to consider live action.
We're making high-budget movies with a low-budget attitude.
I became passionate about nature filmmaking when I graduated from UCLA, and one of the things I always wanted to do was shoot really high quality film, so I got into time-lapse photography - so that means when you shoot a flower, you're shooting, like, one frame every twenty minutes, so that's basically two seconds of a film per day.
I've always wanted to shoot a good percentage for my team, because I'm the point guard, and I can take fewer shots, still score more, so that I can get my teammates feeling good about themselves. That was always my feeling - that if I shoot a high percentage, I don't have to shoot a ton.
Usually, I have in mind what I want to do. I shoot pretty economically, so I'm not shooting tons of stuff that I could change, all that much. I'll cut something or add a little something back, but not too much. This is maybe the producer part of me, but I'm always worried about the budget, so I shoot what I know I need to shoot for the film.
I went to a Catholic high school, which, to this day, I could burn down. And I got great revenge because they had their fiftieth anniversary, andThe Baltimore Sun called me and said, ‘What did you think of your high school?’ And I said, ‘They discouraged every interest I ever had.’ And I saw that in print.
The sun is a huntress young,
The sun is a red, red joy,
The sun is an Indian girl,
Of the tribe of the Illinois.
The sun is a smouldering fire,
That creeps through the high gray plain,
And leaves not a bush of cloud
To blossom with flowers of rain.
The sun is a wounded deer,
That treads pale grass in the skies,
Shaking his golden horns,
Flashing his baleful eyes.
The sun is an eagle old,
There in the windless west.
Atop of the spirit-cliffs
He builds him a crimson nest.
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