Last summer a second unit production crew went to France and shot scenes for several of this season's episodes. They shot costumed actors in and around real castles and landmarks, we couldn't possibly have duplicated here in Hollywood.
In uniform, I had to make judgments about the best course of action in combat when the only choices were 'bad' or 'worse.' As a member of the media, I only had to decide how to get the best 'shot' - preferably without getting shot.
If you can't laugh, you won't make it.
Oh yeah - I watched Knife in the Water, saw the shot, and repeated it. But even if I hadn't seen that film, inevitably the camera would've ended up on top of that mast, I mean if you think of it there are only so many dynamic shots on a boat.
We shot 'Skateland' in the end of 2008, in Shreveport, Louisiana just between the border of East Texas and Louisiana - and we shot 'Battle: Los Angeles' at the end of 2009, also in Shreveport. So I know a lot about Shreveport.
In MMA it's a lot less intimidating because it's not like you get one shot at a title every four years. You get a title shot every couple of months... With the Olympics, you don't always have this, so there is so much more pressure involved.
I have had an experience which might perhaps be described as being shot down. At the same time, I call shot down only when one falls down. Today I got into trouble but I escaped with a whole skin.
I like to give dimension to shots inside action scenes. It's demanding because you have to rehearse a lot of things happening at the same time and frame all those things in a shot. But I feel like when you accomplish that then you've got a cool actio...
In piano, if you try to force hitting this key and that key, it's very broken. It's not pretty. When you're in archery, you can't try to force it step-by-step-by-step. Then the shot doesn't flow and it's not a good shot. If you just let the performan...
Any type of animation, it could be really super crude or very sophisticated, it doesn't mean anything if we don't make this point in this shot, this one here and this one here. There's the saying, 'One shot, one thought.' It's pretty much a true way ...
To have a second movie that you're proud of and that actually turned out the way you wanted, shot by shot, I realize I'm probably going to be able to do this for a little while for my living.
In a normal movie, the director controls what you look at. The shots don't last very long because you're getting the audience to look at specific things. An IMAX shot, on the other hand, can be twenty or thirty seconds long.
I come from a TV background, so for me this more like doing a freeing theatre piece because we'd go into a room and do the scene, instead of doing it as a wide shot, medium shot, and close up with only the odd line of dialogue.
Vasilli: He shot him on the run. It was an impossible shot. Danilov: Vassili... Vasilli: You've promised people a victory I can't deliver. I don't stand a chance against this man.
Gary: Shotguns? What, like guns that fire shot? Barry the Baptist: Oh, you must be the brains of the operation. Yes, guns that fire shot.
Ransom Stoddard: You're not going to use the story, Mr. Scott? Maxwell Scott: No, sir. This is the West, sir. When the legend becomes fact, print the legend.
Tom Doniphon: I know those law books mean alot to you, but not out here. Out here a man settles his own problems.
Dutton Peabody: [to Liberty Valance and his gang who have been waiting for him in the newspaper office] Liberty Valance... and his myrmidons!
Amos Carruthers: [bringing his truant son Herbert to school] Ain't you goin' to give him a whoppin'? Ransom Stoddard: No, he's too big.
Election Council President: [after a mounted politician working for Langhorne has ridden a horse into the convention and performed rope tricks for the audience] This is a convention, *not* a rodeo, Langhorne!
Dutton Peabody: Give me a drink. Tom Doniphon: Bar's closed. Dutton Peabody: Just a beer! Tom Doniphon: The bar's closed. Dutton Peabody: A beer's not drinking!
