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'Cloverfield' and 'REC' are great examples of movies that took kind of tired genres, the monster movie and the zombie film, and by filming them in found footage, it was a new perspective. It gives you a whole new take and helps you re-experience that all over again.
One of the advantages of this found footage format is that you can have deliberately badly composed frames. Here we can put a camera in the weirdest angle and it kind of throws you off. You never know what you are supposed to be paying attention to. It's deliberate chaos.
Before GoPro, if you wanted to have any footage of yourself doing anything, whether it's video or photo, you not only needed a camera, you needed another human being. And if you wanted the footage to be good, you needed that other human being to have skill with the camera.
People always accused me of not smiling like my rival Olga Korbut, but that was just my personality. When you're balancing on a nine-inch beam, you have to concentrate. But if you look back at the footage, I was always smiling and waving at the crowd after my performances.
I've seen plenty of films where the projector broke. The problems that we have in the digital age are exactly the same as we had. Instead of, 'There's a hair in the gate,' it's, 'The computer ate the footage.' There will always be things like that going on. Nothing is perfect.
It was weird. Like, people came up to me and knew me as Daredevil before any footage had come out. I remember a guy on the subway being like, 'You're Charlie Cox. You're Daredevil.' And I was like, 'Yeah...?' I was barely Daredevil. I hadn't even signed the contract, you know?
The old footage of my dad, I always knew we were cut from the same cloth, because my dad was such a renegade and always marched to the beat of his own drum. To see where we were both dancing and being silly together, it's too beautiful for words. I was really happy to have that.
There is a scene in one comic from the '60s-'70s where Batman finds a film, a newsreel film, of his father. This newsreel film is from the '50s, and his father has come to this costume ball in a Zorro costume, which strangely enough looks a lot like a Batman suit in the footage.
In 1982, fellow film student Amanda Richardson and I went to Greenham Common for the day - to see what was going on and to shoot some video. The day turned into a weekend, the weekend into seven months, and the dozens of hours of footage turned into a film - 'Carry Greenham Home.'
When you're doing a TV show, it's not like you just shoot for six weeks and you're in an editing room with all of your footage. It's like a guitar or a car, you have to fine tune things. You stop doing what's not working, you work on what is working and you add things that do work.
We have over an hour of footage with Ken Marino. Same with Kevin Smith. Because you never know, when you let people who are so talented at improv go, what you're going to get. You don't want to strangle them with your own words, because probably what they're going to say is way better.
Before the Beatles, America was musically a very conservative country. You can see film footage of people at a baseball game, they all had hats and ties on, and the women were dressed up like they were going to church. That was the America that I started getting interested in musically.
As an Englishwoman, you pick up a lot through osmosis. I've been watching the Queen all my life. But, yes, I did watch news footage and was able to pick a couple of little tics. For instance, she plays with her hands a lot and has a certain way of holding them on her lap when she's in public.
Movies, to a large extent, stand or fall on the strength of their scripts. But a documentary is a collection of found objects: fragments you've collected, accidents of interview and happenstance, pieces of stock footage that surface in the course of six to nine months of research and production.
My mantra is, 'Don't be afraid of color.' What did it do to you? Do a color testing in alternate kinds of light you desire in the room because the pigment will change. And I refuse to believe that pale pale or white colors in a small room will buy you more square footage. Go with color all the way.
It's very difficult to get any footage of yourself doing what you love unless you have a friend who's a photographer or videographer and wants to document you. That was really the idea and the goal from the beginning: to help people get a good photo, and then it was to help people get a good video.
Anyone who relishes art should love the extraordinary diversity and psychic magic of our art galleries. There's likely more combined square footage for the showing of art on one New York block - West 24th Street between Tenth and Eleventh Avenues - than in all of Amsterdam's or Hamburg's galleries.
People were consuming on average less calories after the war than during the war. Things were still very tough. If you look at the film footage of London streets, even in areas which weren't slums, there are kids in the streets who are dirty and have no shoes on. It was rough. There was a real edge.
My mother tried really hard to protect us, but occasionally, after afternoon cartoons of whatever was on... the nightly news would come on, and I'd see footage from the war zone, and I would hear the word 'Vietnam,' and I would know my dad was over there, and it was a very frightening experience for me.
In my short film, 'Gasman,' I shot it at a kid's party. And the kids were just having a party - they couldn't care less about our film. But that was great because we got this amazing footage where kids were drinking soda and pop or whatever, and getting that sugar high and beating each other up or dancing.
You start to think in terms of making an album that might be greater than the sum of its parts. It's sort of like having a lot of footage and then editing it into something that will make sense to a viewer, you know. Sometimes it might involve even working on an older song that might complete that picture.
'Moonlight' undoes our expectations as viewers, and as human beings, too. As we watch, another movie plays in our minds: real-life footage of the many forms of damage done to black men, which can sometimes lead them to turn that hateful madness on their own kind, passing on the poison that was their inheritance.
If you look at the first TV stuff I did years ago, I've a pretty chubby look about me. I went at it quite hard in the gym at the time. If any footage of me ever came out from those days, I would genuinely die. I did step aerobics to lose the weight, and then I literally ran and ran the weight off on a treadmill.
When we were all kids, there was one particular trailer that I think we can all remember. That was the trailer for 'Close Encounters of the Third Kind.' There was an amazing teaser trailer with all this weird kind of documentary footage. We were like, 'What was that! I've got to see that! What the hell was that?'
I gathered as much reading material about Aung San Suu Kyi and about Burma as I could. And I read every article and every book she had written. I also had 200 hours of footage of her to watch. I tried to discover who were her heroes and where he desire and strength to pursue democracy in a non-violent fashion came from.
Television is such an evolving medium. When you're doing a TV show, it's not like you just shoot for six weeks and you're in an editing room with all of your footage. It's like a guitar or a car, you have to fine tune things. You stop doing what's not working, you work on what is working and you add things that do work.
Look at a football field. It looks like a big movie screen. This is theatre. Football combines the strategy of chess. It's part ballet. It's part battleground, part playground. We clarify, amplify and glorify the game with our footage, the narration and that music, and in the end create an inspirational piece of footage.
One of the first things I said to my kids and we all agreed upon when we first started shooting the show was if we're going to do this, we're all in. We're not going to worry about editing ourselves. So that's what you see. It's raw, and it's real, and it's footage that hopefully people learn from some of our experiences.
If anyone has seen the horrific and unwatchable footage of the Chinese cat and dog trade - animals skinned alive - then they could not possibly argue in favour of China as a caring nation. There are no animal protection laws in China and this results in the worst animal abuse and cruelty on the planet. It is indefensible.
1925's 'The Lost World' is... really, everything a dinosaur movie should be. Like a dinosaur, this classic was once extinct too, existing as mere fragmentary footage and stills, but cinemaphile fossil-hunters have painstakingly excavated bits and pieces from obscure archives and assembled them into a nearly-complete animal.
We actually found some home videos, some really funny footage of me when I was around 3 years old. I come up to the camera to do a Nixon impression. I don't know who taught me that, but I come up to the camera and said, 'I am not a crook.' I got a really good laugh. You see me register that bringing joy to people is a positive thing.
Pele featured in the Brazilophile imaginary as the a figure of non-utile excess, a carefree artist in the Nietzschean sense, indifferent to the narrow teleology of winning matches... check the way that most of the endlessly replayed footage we see of Pele is not of him scoring goals, but audaciously missing chances contrived by force of wit.
When I started analysing games in 2001, I had a DVD recorder. I'd be at home watching the games just on a normal TV, watching what I could and trying to figure out what we would be facing a few weeks later. The problem was, in the team meetings, I'd always have to keep going back and forwards with the footage, trying to get to the right part.