Top 1200 Shooting Up Quotes & Sayings - Page 5

When you make a lotta money, you got a lotta people shooting at you. Anywhere you go, the tab goes up. People borrow stuff from you, you don't see it again - they figure, Hell, Moses ain't gonna miss it, why do I have to return it?

It's not like you get up in the morning on the first day of shooting and say, 'I'm so smart today I'm going to determine every choice I make from now until a year and a half from now.' So it changes. You gain insights. The movie bucks you.

Rule One: Whenever a spectator seeks out a really good vantage point and settles down on shooting stick or canvas chair, the tallest and fattest golf watcher on the course will take up station directly in front.

I think there's the element of the excitement of what I'm going to see, and with the special effects where you see men flying and walking through walls and shooting flame or whatever they do, especially the younger audiences, which make up a bulk of the moviegoers, they love that sort of thing.

When you're shooting a low-budget movie you're never just the director: you're also in the catering department, and hair and make-up and a part-time grip. I can't even imagine the luxury of not having to keep an eye on every aspect of production while directing.

Whenever you take a subject you're obsessed with or that haunts you, and make a movie about it, you're converting it into work units that need to be completed. You gotta turn it into a treatment, a script, a grant application, a bunch of forms to be filled out, a shooting schedule, casting sessions, auditions, shooting, editing, music compositions, the film festival circuit, interviews even. And by the time you've finished the process you're so sick and tired by something that was once very precious to you that you're done with it.

I grew up in Los Angeles, and I've made movies all over the world... I've been in New York, Norway, Chicago, Pittsburgh, Philadelphia, London - I've been in all these cities, shooting away in the winter, thinking, 'People who choose to live here are insane.'

Because of 'Line Of Duty's proper adherence to police procedure, by definition we end up doing some very long interrogation scenes which are difficult to learn, and require lots of concentration to sustain them across shooting.

Every now and then we'd meet up and reminisce about the characters. At the beginning, shortly after we started shooting, someone sent me some clips put together on youtube. It was the first time I'd seen something like that. "The intimate moments of Mulder and Scully."

I was fifteen, and when I picture myself then, I see flames shooting up, see myself falling off the edge of the world, and am amazed I survived not the outside world but the inside one.

When I initially met with Robert I was just so excited to meet the guy. I was able to go to Troublemaker Studios in Austin, Texas and just hanging out was fantastic. Working on this took up all of my weekends while I was shooting Community. It was crazy, but again, no regrets.

I think that the whole voyeuristic attitude of filmmakers or of me personally - of shooting documentaries and so forth - is an important issue. And it was an important issue to me, personally. And the whole question of when - when do you put the camera down or when do you keep shooting to get the shot. And a number of times in my life I've had that question hit me very hard.

There are sad moments - lonely moments - when you're sitting up in your room all by yourself, shooting on location in Atlanta or Vancouver or L.A., and your family's back home. You can miss home.

There are some filmmakers like the Coen brothers that are very precise. They make shooting boards, they do it shot by shot, and they follow every single line in their own script. They make amazing movies, and I admire them so much, but I can't do that. I have no idea how the movie will exactly be. While shooting, I just try to create an accident that I don't control very well - grabbing things from different sources and ideas, and then having a sensation somewhere that it will make sense.

George Washington Carver said: 'No one has the right to come into this world and go out of it without leaving distinct and legitimate reasons for having passed through it.' So if I'm going to be remembered for something, if I have a choice, I'd rather be known for standing up for my principles than shooting a jump shot.

A lot of my friends growing up were hunters, but I spent all my time on the ice hurting actual humans playing hockey. I never had the chance to run through the woods and shoot at a moose or deer. I was shooting pucks at goaltender's heads.

In the first season (of 'Californication'), when we had the threesome with the nipple clamps, I was, like, 'I don't get this, I don't know how you're gonna do it.' And then, all of a sudden, there's a crane with a camera hanging over our heads, and you're, like, 'Okayyyyyyy. But how are you gonna sell this? How are you gonna make it work?' And they ended up shooting it brilliantly, cutting it together, and it just all ended up working without me having to compromise my own personal morals.

The other thing is that when people mention computers - and I'm pretty much the same - they find it hard to comprehend that there's a performance there. They look at it as something that's just been made by a computer but in a way the difference is that when you make a normal film - and I'm simplifying it here - you put on the make-up and you put the scenery in before you start shooting, but with this you still perform in the same way but then you put the make-up on after, along with the costumes and scenery.

I love filming in London. In New York, every street is familiar because you have seen it in a movie. They mythologise their own city. You're forever trying to get down streets that have been blocked off because of shooting. In London, they don't put up with it; they're grumpy.

If I grew up in a different background, I could see myself getting a gun and shooting an abortionist. That's my job, to imagine what could happen, what can make people go in different directions.

When Sean came to meet my parents, the first thing my dad did when he picked him up at the airport was to take him right to a shooting range. My dad was like, 'I want to see how he shoots.'

London is completely unpredictable when it comes to weather. You'll start a scene, and it's a beautiful morning. You get there at 6 in the morning, set up, you start the scene, start shooting. Three hours later, it is pitch black and rainy.

If your shot is broke, you at least want to shoot it comfortably. You want to be comfortable shooting a broke shot. You don't want to be uncomfortable shooting a broke shot.

And that the arming of so many black youths, uh, and loading up our community with drugs, and then just having an open shooting gallery, is the work of people who obviously don't have our best interests [at heart].

Nobody could dissapear to their trailer once it was up and running, you were all there on the same stage. It was 10 days of rehearsal and 10 days of shooting, which was very tiring.

With 'Eagle of the Ninth,' every shot was extremely planned and organized. The director was like, 'Do this!' And I say, 'How was it?' and he says, 'Good.' It was very odd. I would never know where he was headed, or even if he was shooting me at a close-up or from a distance.

It is not as though the process of production holds any mystery for me, I know exactly what it involves and I know the predominant concern in shooting one of those things is production values - or as they would say, seeing it all up there on screen.

I wrote the plot [for the Persepolis ]and Vincent [Paronnaud] and I wrote and discussed the shooting of the script. Vincent then took care of the production design, the actual shooting, and what was going on within each scene. It's very difficult, though, to draw a line between who did what. Because Vincent would say something, and I would add something, and at the end you have this film, yet no clear idea of who did what.

The quest for love became all consuming to the point where I would give up shooting the cover of 'Glamour' magazine to go be with someone I was crazy about. I look back on that now and I would never let my own child do that, but I don't regret it.

I went on a cross-country trip with three buddies to find out what our generation is about. I bought a video camera, started shooting, learned as I went, and ended up with 'Our Time,' a feature-length documentary about what it's like to be young in America. I was hooked.

I came to New York in 2008 not knowing a thing about fashion, but even back then I knew Opening Ceremony was this beautiful, welcoming beacon on the shores of taste, shooting up gorgeous flares for us wayward souls at sea.

A definite highlight was doing 'The Brothers McMullen.' Shooting that movie was such a joy - and then we wound up winning the Sundance Film Festival. That big-break moment is visceral. It happens once in a decade, maybe once in a lifetime.

Everything for me has happened so quickly. I finished shooting 'The Blind Side' not this past June, but the June before, and all of sudden up to now, it seems like it's gone from zero to 60 for me. I feel so fortunate to be able to say that.

A lot of people want to get involved, so thinking up Vines that require crowds is always good. But I've definitely gotten tweets before that were like, 'Just saw Logan Paul shooting a Vine and ran in the other direction!' so it's not for everyone.

I always messed around a little bit growing up, just shooting with my left hand, but now I'm actually getting real work in with my left hand. I think it's going to be a big help.

One of the best rules anybody can learn about investing is to do nothing, absolutely nothing, unless there is something to do... I just wait until there is money lying in the corner, and all I have to do is go over there and pick it up... I wait for a situation that is like the proverbial "shooting fish in a barrel."

I remember doing a little student film where we had a guy that couldn't pull focus. We ended up spending three times the amount of time shooting this thing as opposed to if the guy could've just pulled focus.

I love the action that I'm able to do. I grew up in Maine, outdoors and playing with the boys and shooting skeet. I have my girly side, too. But, I do like playing the strong female roles, especially now with something as simple as Twitter, where you've got young women following you.

When we shot "Stargate," he [ Jaye Davidson] came up to me at one point and said, "I don't like shooting movies," and I said, "Why?" "Too many people stare at me." I said, "Then you're totally in the wrong business."

The first time I shot the hook, I was in fourth grade, and I was about five feet eight inches tall. I put the ball up and felt totally at ease with the shot. I was completely confident it would go in. I've been shooting it ever since.

If I'm on set and I'm in character, I'm not thinking like a producer. If I'm on set and I'm not in character, wardrobe and make-up, and I'm just coming on set for the moments that I'm not shooting, then I'm able to be the producer.

Generally, you're always shooting in the dark with Beyonce. She's just creative and eclectic and up on always trying to be ahead of the game. That was the moment of me trying to figure out how I wanted to give her another moment.

When I was in Toronto shooting 'Hemlock Grove,' I'd spend a couple of hours in the makeup trailer every day because my character had all these tattoos. I was telling one of the artists how bored I was - I didn't really know anybody - and he said, 'Pick up a ukulele and start playing. They're 30 bucks for a cheap one.' And I did!

I feel most spiritual when I am listening to a soprano voice soaring to the top of its range at the most dramatic point of an aria. It feels like a geyser shooting up from the center of the earth and reaching for the stars.

That's the great part about television: It's alive, and it changes and evolves with the way the characters evolve. Stuff that happens to you in your life when you're shooting a TV show, you have to be careful, because it might end up in the show.

Nobody could disappear to their trailer once it was up and running, you were all there on the same stage. It was 10 days of rehearsal and 10 days of shooting, which was very tiring.

I grew up in Los Angeles, and I've made movies all over the world... I've been in New York, Norway, Chicago, Pittsburgh, Philadelphia, London - I've been in all these cities, shooting away in the winter, thinking, 'People who choose to live here are insane.

In a war you have to take up arms and people will get killed, and I can support that kind of action by petrol bombing and bombs under cars, and probably at a later stage, the shooting of vivisectors on their doorsteps. It's a war, and there's no other way you can stop vivisectors.

Alfred Hitchcock talked about planning out his movies so meticulously that when he was actually shooting and editing, it was the most boring thing in the world. But drawing comics isn't like shooting a movie. You can shoot a movie in a few days and be done with it, but drawing a comic takes years and years... That's the biggest part of doing comics: You have to create stuff that makes you want to get out of bed every morning and get to work.

I find myself applying the addict's impulse to how I cruise. I don't look at the ass. If I see a hot guy walking towards me I look at his arm, and if he has a vein I fantasize about shooting up with him.

An entrepreneur is not what you call yourself, it's what someone calls you in recognition of what you've achieved. I call Richard Branson an entrepreneur. Rupert Murdoch called me one. Anybody who stands up and says: 'I'm an entrepreneur' needs shooting. You'll drive people crazy.

It's a different rhythm than most movies. For a lot of the actors, you're 12,000 miles away from home. It becomes a way of life - getting up at five in the morning, shooting every day, day in day out, for 270 days. The new cast playing the dwarves were carrying incredibly heavy weights in their suits, they sat through hours of make-up every day. So it's quite challenging from a stamina point of view.

Every time a film comes together, usually the studio executives come up for a day to the set. If you're out of town, they'll fly in or wherever you are - the cast, the director, the producers - all get together and have a big dinner and celebrate the fact that we're about to start shooting.

They're trying to kill me," Yossarian told him calmly. No one's trying to kill you," Clevinger cried. Then why are they shooting at me?" Yossarian asked. They're shooting at everyone," Clevinger answered. "They're trying to kill everyone." And what difference does that make?

One time I considered making a video game about my life where people control a character called 'Zach Braff' and run around being awesome. Then I realized that getting to pretend to be me would be like shooting up heroin for anyone who played it, and I don't want that on my conscience.

The little town I was brought up in, I'd go to the film society to these very extreme sorts of films that you wouldn't normally see in the movie houses. But I never dreamed that I would get into the position to be shooting movies equivalent to the ones I loved as a kid.

It may seem strange, but the most grateful I've ever felt was when I was held up at gunpoint. After I handed over my wallet and the mugger ran off into the woods, I thought, 'Thank you for not shooting me.' I was overwhelmingly glad to be alive and unharmed.

I see myself as a huge fiery comet, a shooting star. Everyone stops, points up and gasps "Oh look at that!" Then - whoosh, and I'm gone... and they'll never see anything like it ever again... and they won't be able to forget me - ever.

In the summer of 2002, we had spent six weeks shooting the three pilots of Mythbusters, and Jamie[Hyneman] called me up afterward - well, first he called me up to tell me to clear my crap back out of his shop - and he said, "Well, that was kind of fun, wasn't it? I mean, I don't see where this could go, because we pretty much did everything. But it was fun."

This is the most exciting place in the world to live. Oh yeah! There are so many ways to die in New York City! Race riots, drive by shootings, subway crashes, construction cranes collapsing on the sidewalks, manhole covers blowing up and asbestos shooting into the sky.