At least the Pilgrim Fathers used to shoot Indians: the Pilgrim Children merely punch time clocks.
I'm in awe of directors like the Coen brothers who can shoot their script and edit it, and that's the movie. They're not discovering the movie in postproduction. They're editing the script they shot.
Be wary of strong drink. It can make you shoot at tax collectors... and miss.
What I end up shooting is the situation. I shoot the composition and my subject is going to help the composition or not.
When you shoot in a room, that's a symmetrical thing that contains you. When there's no contention, the sensation is overwhelming you. That's a challenge, to do that.
In orthodox film-making, you never shoot sequentially - but with improv, obviously every move you make has a knock-on effect; it is a cumulative process. I have improvised, on the non-scripted 'Timecode.' It can become entirely indulgent: actors smashing crockery and competing verbally.
There's never a dearth of reasons to shoot at the President.
There's a tired notion that the photojournalist has to be disengaged to be able to shoot what he shoots, and that's such a cliched idea of what the experience is. Of course they're engaged, and they're not distanced.
I'm two-footed. I prefer to dribble with the left and shoot with the right.
No sane local official who has hung up an empty stocking over the municipal fireplace, is going to shoot Santa Claus just before a hard Christmas.
I was spooked when I first got the role, as I was afraid I wouldn't have the companionship I need on a shoot, because I'm so into the process itself, not so much the end product.
I'm trained to look for certain things... I shoot, I shoot, I shoot, and then I go find it in the ether.
You know, pass now to pinch post, cut, shoot the shot. Do things to facilitate the offense. That's what I did in Alabama.
I would drive to gigs in my tiny little Fiat. I would shoot up and down the M1 to play at various places.
I had written in another draft a completely different kind of fight, but they said they couldn't afford to shoot it. They needed a fight scene, though, so I was told to put a fight scene in, but not the one I had written.
Tom Arnold and I, we have a huge firefight scene on top of a German tank. I get to shoot 50 caliber rounds. We shoot a helicopter out of the sky. That's the only fight I'm in.
If everyone worked with wide-angle lenses, I'd shoot all my films in 75mm, because I believe very strongly in the possibilities of the 75mm.
I don't shoot guns. I don't know how to do that. I grew Upstate New York, so I fought with my fists.
I shoot a little bit, maybe two rolls, medium format, which is 20 pictures, and if it's not working, I change the position.
Forwards are either too tall, and I'm too quick for them, or guards are too small, and I shoot over them.