Quotes of All Topics . Occasions . Authors
I think Vandal Savage is really cool 'cause he has the ability not to die, and he's smart, but he doesn't have any gadgets; he doesn't shoot fire, and he doesn't fly. He's just old school, and I love that. He throws knives, and he fights, and that's it.
As a professional climber and photographer, I am asked to shoot in a lot of situations with a lot of different people. Sometimes I'm with the hardest, most seasoned alpinists in the world. Sometimes I'm hanging out with celebrities doing a benefit climb.
Something we often struggle with on pictures is the right way to shoot live-action elements that are for an environment that's very complicated from a lighting standpoint. An example is a starship flying through an environment that's constantly changing.
You don't want to keep giving yourself a sugar spike and then crash and get exhausted and need coffee because you shoot for a long time. On set, I eat a lot of peanut butter and apples, things that have actual energy and protein in them to keep me going.
There are no military options for Iran. Attack them, and they will destroy the Gulf States oil industries, rain hundreds of missiles onto Israel, close the Arabian Gulf, and shoot oil prices to $300 per barrel, which could cause our own economic downfall.
I'd always intended to make 'Far North' straight after 'The Warrior.' We had the rights to the short story, the script was in development, and I knew where I wanted to shoot it. It just took a long time getting the script together and raising the finance.
There is always this perception that you want to shoot for the top, but I think there's this great place to shoot for the middle and get consistent work and try different things and do the work you want to do with the kind of people you want to do it with.
When I shoot at the range, I don't feel personally powerful but like the custodian of something powerful. I feel like a successful disciplinarian of something radically alien and potent. Analyze this sensation all you want; you still can't make it go away.
If you want to go out for a hunting trip and shoot cans with your son and a .22, that's fine. Do I need an AK-47 with a 100-round magazine if I'm going on a hunting trip? No. It is, to borrow a phrase from Confucius, like using a cannon to kill a mosquito.
For movies, I usually do an entire book that has all kinds of things about what is happening at the time the movie is going on and try to get into what my character's going to be like, to try to get some consistency, because they shoot movies out of order.
I think I had the most fun making a movie with 'Dedication,' just because you knew that it was a passion project for everyone involved. We had X amount of days to shoot New York in the cold. No trailers. Just sort of kind of doing it guerilla style in a way.
My mom was a model, so she's been really good about giving me tips on how to navigate behind the scenes - like the importance of being nice to everyone on set and remembering people's names, to how to be a positive part of the photo shoot and stuff like that.
I got invited to the Playboy Mansion with the Lonely Island guys after their first season on 'SNL,' and I sat in the corner drinking coffee and talking to Akiva Schaffer about what aspect ratio he was going to shoot 'Hot Rod' in. Like, that's what we talk about.
I eat healthy when I can; I eat a burger when I want, and I work out. You have to live with the routine that keeps your body the healthiest, and that's what I do - I don't change it for a swimsuit shoot. You have to figure out what works with your body the best.
They teach you some things, but football is instinct sometimes. You just get the ball, and sometimes you dribble past three players and pass it; other times, you can shoot from far away. It's just instinct. If you feel something, just do it. I am free to do that.
Lipstick doesn't really suit me. For shoots or when I go out, I use it - but if I use it all the time, it makes me look really old, so I keep it natural with nude or a natural pink. Though I did just do a shoot where they did a big red lip, and it looked amazing.
Pick up a camera. Shoot something. No matter how small, no matter how cheesy, no matter whether your friends and your sister star in it. Put your name on it as director. Now you're a director. Everything after that you're just negotiating your budget and your fee.
Getting to do what I think was my fifth BBC drama with Nikki Amuka-Bird - we've done 'Shoot The Messenger,' 'Five Days,' 'The No. 1 Ladies' Detective Agency,' 'Born Equal' and now 'Small Island' - was another highlight for me. And filming in Jamaica was great, too.
Doing a sitcom is like doing a play - you rehearse for three or four days, and then you shoot what you rehearsed on Friday night in front of an audience. An hour-long drama is like shooting a movie. You're shooting 13-14 hour days. The endurance itself is different.
A government that can at pleasure accuse, shoot, and hang men, as traitors, for the one general offence of refusing to surrender themselves and their property unreservedly to its arbitrary will, can practice any and all special and particular oppressions it pleases.
'Dirty Rotten Scoundrels' is a good one because it not only turned out, I think, to be a really funny movie but it was also a delight to shoot. We were in the South of France, working with Glenne Headly and Michael Caine and Frank Oz the director - who were just fun.
My dad and I used to shoot little one-stop animations on an old 8mm film camera when I was no more than 7 or 8, and when he was away at work, I would keep shooting nonsensical, short animated films using 'Star Wars' figures or Smurfs - depended what the narrative was.
Making ribs in Texas isn't that unusual a choice for 'Top Chef'. We played the stereotypes everywhere we go. It's not only in Texas. We do it in New York; we did it in San Francisco. Listen if we shoot it in Seattle you know we're going to be throwing salmon somewhere.
The poetry and transgression that was so much of surrealism's anarchic force has been recruited into mainstream culture. It has been made commonplace by television and magazine merchandising, by computer games and Internet visuals, by film and MTV, by the fashion shoot.
I was inspired to shoot 'Look Back at It' in a high school because I'm like a voice of the youth. When the youth sees me in a classroom, I want them to be inspired to accomplish their dreams. I was just like them in a classroom at one point. It all starts in a classroom.
I wear sunscreen every single day - I just don't go out of the house without it. I also try to get enough sleep, eat as healthy as I can and keep hydrated. I have very sensitive skin, and depending on what products are used on a shoot, my skin can break out in an instant.
You might have a great fence, a great shoot, run, and swim, but you might get a dodgy horse. Each country supplies the horse; you get 20 minutes to warm up with it, and then you have to do the jumping course. Pentathlon's difficult because everything has to come together.
I admit that I've been beaten up so many times in films, but we do not fake it - we actually have to fight when we shoot to make it real and to save film and time. Even the props that are not real, like the bats are plastic, but they're still very hard, so it still hurts.
When I first met Big, we were both at a 'Bad Boy' family photo shoot. I was kind of familiar with the name Biggie Smalls, but I really wasn't that much into hip-hop at the time, so I really didn't know that was him. He said he didn't even know I was an artist on 'Bad Boy.'
You can be in Ohio and shoot your own web series, if you want. If this had been around when I was in high school, I can guarantee you that my friends and I would have been shooting our own television shows and putting them online and trying to get as many hits as possible.
You know, I remember Career Day in high school. I remember plumbers and lawyers... I don't remember a booth where you could sign up to learn how to shoot chickens out of a cannon at the windshield of an airplane, 'cause there would have been a line at my school to do that!
I think it's really difficult to justify converting a film that wasn't shot in 3-D into 3-D. I really do believe, as does James Cameron and all the people who are actually pro-3-D, that you have to go out and shoot it that way. You have nothing but compromise if you don't.
I don't want to admit it, but I do enjoy the feedback from the audience. It's instant feedback. It's like, you could do a movie, shoot it for a year, wait six months, it comes out and you gotta do three weeks of marketing. Three weeks of that, and everyone goes, 'It sucks.'
I love the idea of documentaries. I love seeing documentaries, and I love making them. Documentaries are incredibly easy to shoot. The ease with which you can hear something's going on, somebody's going to be somewhere: That sounds so interesting. Pick up your camera and go.
If, indeed, a firearm were more dangerous to its possessors than to potential aggressors, would it not make sense for the government to arm all criminals, and let them accidentally shoot themselves? Is this absurd? Yes, and yet the government, of course, is arming criminals.
I've been very hands-on with everything I've done since I had my children. And it's just really important for me to understand the big picture, where everybody's coming from, what's the real purpose of this shoot and this song, or whatever it is in that moment that I'm doing.
There's the movie you write, there's the movie you shoot and the movie you edit, and often, you find that you're getting the same information out of a scene that you already have and a scene that's actually more powerful, so you have to make the tough decision to take it out.
My mom was a housewife and a sponge, who would absorb everything and make it all look like a fairytale when he entered the house. For instance, when he came home, I would always be seen studying with my books open. She always made sure that Dad went back to the shoot happily.
If I have a big shoot coming up, I do low-carb, no red meat, and earlier dinners. And I just tell myself that sure, maybe I cannot eat all the things I'd love to today. But there are many more days in the week, and that perfect bite will come when I'm done with whatever shoot.
I never have broken up in comedy, ever. There's something about me that I just don't break on camera - maybe because I'm just so cheap, and I know how expensive it is to shoot - but I broke on 'Sordid Lives,' and I broke on 'The Office.' Those are the only two times in my life.
There'll be moments when I'm out in the prison yard, chatting with the cast and the crew, getting ready to shoot a scene. And then I'll remember if I were actually an inmate, I'd only be out there an hour. The other 23 hours of the day, I'd be in my cell. It's kind of a downer.
Conan O'Brien's the best. I'm glad he's in L.A. because I want to move in with him. I was a guest on that show one time to promote 'Human Giant,' and he was the coolest, funniest guy. I was really impressed. He's also eight feet tall and can shoot lightning from his fingertips.
I said if I have a No. 1, I'll do a naked photo shoot! I'm not sure a lot of people would like to see that, but it was more to the fans, really. Every gig I do, they try to get me to take my clothes off, so it's a promise to them - if I get a No. 1, I'll happily do a naked shoot.
I was a novelist first. But in the mid-'80s, I did work in television for ten years. And yes, that was frequently the reaction to my scripts. People would say, 'You know, George, this is great. We love it, a terrific script, but it would cost five times our budget to shoot this.'
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.
The most difficult quality is to make the right decision. Because you can be quick, you can be strong, you can jump incredibly, you can have the best shots and you can be able to score goals from 50 yards, but if you don't know when to shoot, when to run or when to jump, you're lost.
In features, we're languid: we shoot one or two scenes over, like, three days. In TV, the pace is so different. You're shooting ten scenes a day, going way into the future or way back into the past. It's complete madness, and I'm just trying to keep up with this really electric pace.
I am just pitifully nostalgic. I can't help but roll my eyes at myself frequently. I mean, I still shoot black-and-white film. And I am constantly reminiscing about the 'good old days.' I'm 28 years old. There haven't even been that many 'good old days.' But still, I love to look back.
Shoot, there's a committee to tell you everything at a record label. You definitely have to know who you are if you want to look like you at the end of the process. We've all seen people get record contracts, and by the time they're spit out by the machine, we don't even recognize them.
It's possible for an editor to break down a dream, if you like, into its components and being able to shoot the wide shots in sunshine, when the weather was at its best and you know, we would get sort of almost a 3D effect sometimes if you chose the right time of day to shoot the thing.