Shooting Quotes

I don't mind a little Sturm und Drang. When I was doing 'Riding in Cars With Boys,' I wouldn't smile at anybody, because my character, Bev, was angry at the world. I'm the opposite. Inside my head I'd be like, God, I'll explain to you at the end of shooting that I'm not this person.

I think sometimes I'm more fond of doing the research for the character because you learn so much. Sometimes shooting is really difficult because you wake up early and you're always hurrying. And sometimes I don't know what I'm doing. I'm here and there.

Think of me as the weathered sheriff coming back into Dodge 'cause the youngsters are shooting up the church and scaring the horses and not doing right by the women.

Every other movie is one of those action things. I mean, 'Lost in Space'? A bunch of good actors running around shooting at special effects on a soundstage? I took my kids to see that and felt like I was on an acid trip.

My great forte in killing buffaloes was to get them circling by riding my horse at the head of the herd and shooting their leaders. Thus the brutes behind were crowded to the left, so that they were soon going round and round.

Without a good cultural policy, without adequate help, we will always have individualists, shooting stars who are rapidly forgotten or who stop painting for a more profitable occupation.

Avoid all needle drugs, the only dope worth shooting is Richard Nixon.

I like going to rifle and pistol clubs and joining them in target shooting. I also share the same respect for individual initiative and love of family.

Well, like any time you're shooting documentary stuff, you've got to be in the moment, and you've got to be able to be in control enough to capture what's happening.

Newlyweds shooting budget: 5k for actors, 2k insurance, 2k food and drink. 9k in the can. We only shot 12 days. That's how to make an independent film.

I'm not about trying to be out here fighting and shooting, stabbing and, you know, all that crap, man.

Some of my most special shooting experiences have been at weekends.

We shot in a place called Asheville, which is like beautiful, beautiful forests. And then part of it we shot all the reaping stuff, which was just crazy - because the reaping in the book and in the script is such an emotional thing for everyone. It really did feel like that when we were shooting it.

Perhaps the most difficult thing is shooting scenes set 6,000 feet up in the mountains of Mexico.

It's just about going out and getting the shot, so I have a great understanding of how to execute it, so that really helps me, and also having a good understanding of all the action that I'm shooting, it helps me in determining how I'm going to capture it.

Well, it all depends on how you, you know, perceive the religion angle. I always say to each their own and I'd much rather have a guy that's going to be preaching religion as oppose a guy who's going to be shooting himself in the leg.

I made a big mistake with him the first day I shot. We're shooting the scene where I come back from the party, the dance, in the sleigh with Julie Christie and we turn the corner and go past the camera and the camera follows us just a little bit and we disappear.

You know, episodic TV directing is a very long and arduous job. You have very short schedules, short short shooting days, and you have to get lot of pages done.

I am not interested in shooting new things - I am interested to see things new.

I went across the fields to avoid the straight highways, along the firing lines where people were shooting at a small wooded hill, which is now covered with wooden crosses and lines of graves instead of spring flowers.

With indies, all they have is their script and it's very important to them. The characters are better drawn, the stories more precise and the experience greater than with studio films where sometimes they fill in the script as they're shooting.

I feel like when I'm on stage, when I'm writing songs, singing songs, I'm in the studio, I'm shooting videos, I kind of get to become this character, and I can make that whatever I want to make that.

We go through, I think, six different drafts of each script. And then my shooting it is roughly, you know, fifteen percent of the total work that gets done on a show. Then it's all post-production animation after that.

I've been shooting the ball and running a little bit. It's just going out here now and forgetting that I've been out and try to get back in and make sure I know what's going on out there on the floor and that we're just not lost as a team.

When we were shooting in Shreveport, me and a couple of friends went down to Lafayette, because they had a big Zydeco music festival down there. We spent two days dancing to Zydeco music, eating fried alligator... It was one of the craziest festivals I've ever been to in my life, but I loved it.

If you lived through the shooting of Jaws, you can live through anything.

I'll need every ounce that I have to drive it through. Film and TV require that energy. Sometimes fight scenes can be pretty intense. When I was shooting "Heaven" it was truly guerrilla film-making.

I have this home in New York, I have a long-term relationship with my boyfriend, who's from Australia, and I had this business that I had maintain. Even though I wasn't actively shooting, there's a lot of peripheral work.

'Red Dawn' was really the most fun I ever had making a movie, because I love Westerns, and I love the idea of being a tomboy, and riding horses and shooting guns.

Paul is Starsky, and I met him before shooting. He was very kind and encouraged us to go with what we wanted to do. It was very sweet to see them back with the car after 25 years.