Cheech: Olive, I think you should know this: you're a horrible actress. [Cheech shoots Olive dead]
Kit Carruthers: [after shooting someone] Think I got him? Holly Sargis: I don't know. Kit Carruthers: Well I'm not going down there and look.
Caesar: You don't wanna shoot me, Vi. Do ya. Do ya? I know you don't. Violet: Caesar, you don't know shit.
Deckard: [narrating] The report read "Routine retirement of a replicant." That didn't make me feel any better about shooting a woman in the back.
[after Rocco shoots three men in a coffee shop] Murphy: Liberating, isn't it? Connor: Let's fuckin' go! Rocco: You know, it is a bit.
Taggart: [shouting] We'll head them off at the pass! Hedley Lamarr: Head them off at the pass? I hate that cliché! [shoots his foot]
Well, I've learned something from Michael Robison just about maximizing your shots. For example, if I'm shooting a scene and someone's driving at the wheel, you could steal an insert in the same shot.
We cut a few corners and brought the picture in under budget by $25,000, so Paramount let us go back to Boston with a small crew to shoot some additional footage.
I wanted to shoot straight, mainstream, somehow off-beat. Not only realistic West, which is quite unfamiliar to the world's population - even to a lot of Americans.
When I'm shooting, I don't care who the star is. I have an actor playing a part, and I'm serving the script, not serving anyone's career.
If I am told to be at a shoot at 10 A.M., I am ready on time. By 11:30, I lose my patience. After that, I keep threatening to leave the sets if they don't begin soon. It works sometimes.
He was gorgeous. Every feature on his face perfect, dark and inviting. The boy could be his own photo shoot." Kasey Reese - Men of the Cave
But in summer, welcoming summer, the rocks are soft-fledged with moss. The forest floor is bouncy with fresh shoots and enthusiastic blooms; the twisted angles of the branches are laced by bud and leaf.
Rising genius always shoots out its rays from among the clouds, but these will gradually roll away and disappear as it ascends to its steady luster.
I discovered that, in order to write a magnificent piece, you should shoot the images because once you are filming, you are writing the script in your mind.
We didn't shoot in 3-D. They've talked about doing a conversion and there's been a lot of talk about us doing 'Sucker Punch' in 3-D, but I'm still waiting to see.
We're still working out the details, but I'd be delighted to do the film. The problem at the moment is my busy schedule. Shooting on this film has been extended by a month, but I need to be in the U.S. by Dec. 20.
I want people to be drawn into the space of the work. And a lot of people are like me in that they have relatively short attention spans. So I shoot for the window of opportunity.
My memory of those places is better than my pictures. That's why I get much more satisfaction out of shooting thematic work that has to do with an idea that I'm searching for, or searching to express.
Currently I am working on another three books, doing a lot of magazine work, am shooting for fifteen stock agencies, plus my own photo library - all this keeps me quite busy!
New York for me is about work. If L.A. were to become a West Coast version of that, I'd shoot myself. The climate, the lifestyle - it really fits as the yin to my New York yang.
