These days in movies you can always come back to a location or do an insert or do something, so that's not even an issue any more. But coming back every day to the same plane, it messes with your head.
It helps so much being on location. It's like the difference between performing for the rectangle of the camera versus a world being created and then the camera finds things within that. There's a huge difference in that, because what it takes away is performance. You don't feel like performing. You're just kind of doing it. You're existing.
It's so much harder to recreate something than it is to shoot at the actual place. It's not without its problems. You've got a lot of bystanders and security issues, but it's always a lot easier and a lot more fun to shoot at the actual location.
Start with scout locations first.
Always get to the set or the location early, so that you can be all alone and draw your inspiration for the blocking and the setups in private and quiet.
We had the camera locked, but not the location of the sun.
I like charcoal drawing a lot. I'm not very good, but I always find myself buying canvases and paints whenever I'm on location, because I always have this ambition to fill the hotel room I'm in and turn it into an art studio.
I believe locations should try to be and evoke the characters in a movie.
Great actors are so easy to direct. It's like they're big 747s that you just have to move left and right, and I don't really need to direct. I need to put them in the right costume, with the right haircut, in the right location, and with the right actor to act with.
Almost all of "Julie" was shot on location in Carmel, which is a lovely resort town a little south of San Francisco. My co-star was Louis Jourdan, whom I liked very much. An amiable man, very gentle, very much interested in the people around him; we had a good rapport and I found talking to him a joy . . . We would take long walks on the beautiful Carmel beach, chatting by the hour.
I've written in every imaginable location; a repurposed closet, the kitchen table, the bleachers while my kids had basketball practice, the front seat of the car when they were at soccer. In airports. On trains. In the break room when I was supposed to be wolfing down dinner. In the back of classrooms when I was supposed to be paying attention.
Every time you get into a new job, new location, you have an amazing opportunity in front of you. You get to play dumb for as long as people will allow you to play dumb. You get to ask all the dumb questions, you get to ask multiple people the dumb questions, and you get to make mistakes. Thats how you stand out in the crowd.
It's way beyond ironic that a place called the Holy Land is the location of the fiercest, most deeply felt hatred in the world. And it makes for wonderful theater.
Genres do exist because frequent users of any large bookstore can instantly tell what any piece of fiction is supposed to be about by its title, its cover and its location in the shop.
I dont really have an office or anything, and I like to have to move location every two hours. So I just kind of write in a park, on a bench, in the library, in a cafe, back to the library, that kind of thing.
Google is famous for making the tiniest changes to pixel locations based on the data it accrues through its tests. Google will always choose a spartan webpage that converts over a beautiful page that doesn't have the data to back it up.
A screenplay is really an instruction manual, and it can be interpreted in any number of ways. The casting, the choice of location, the costumes and make-up, the actors' reading of a line or emphasis of a word, the choice of lens and the pace of the cutting - these are all part of the translation.
It's like guerrilla warfare. If you reveal your location, all it does is allow your opponent to improve his artillery bearings. It's better to move quietly, with stealth, under cover of night. You've got two choices: You can wear cammies and shimmy along on your belly, or you can put on a red coat and stand up for everyone to see. It comes down to whether you want to be the British army in the Revolutionary War or the Viet Cong. History tells us which tactic was more effective.
In film, the possibilities are greater. You can go beyond the fourth wall. You can go to these incredible locations and you're put into circumstances that are physically sensuous. It sometimes requires much more of a physical talent.
The classroom, with all its limitations, remains a location of possibility. In that field of possibility we have the opportunity to labor for freedom, to demand of ourselves and our comrades, an openness of mind and heart that allows us to face reality even as we collectively imagine ways to move beyond boundaries, to transgress. This is education as the practice of freedom.
I guess for me - in the TV commercial world I was known for shooting locations, beautiful landscapes and things like that - so, it's interesting.
A woman knows all about her children. She knows about dentist appointments, soccer games, romances, best friends, location of friend's houses, favorite foods, secret fears and hopes and dreams. A man is vaguely aware of some short people living in the house.
It's been such a huge part of my life, it's hard for me to separate it out. All I can say is that I had an extraordinary childhood. I was around these amazing people and went to exotic locations. The whole movie-making thing is so magical.
My father used to describe how he'd love going, early in the morning, out on a location and waiting for the trucks to arrive and the circus to come to town. That's what it's like, every day, when you're making a film. It's the magic.
Often in films there's more of allowing the actors to make the dialogue fit better in their own. Also, you get to a location and the geography is different, so the lines don't line up the right way, so you do have to change stuff.
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