A photographer kept shooting me every time I swung. I was very flattered until I found out he was from Field and Stream.
A lot of people refer to power as shooting a loaded gun. When you have to shoot the gun, you've lost the power. Other people's knowledge of your gun should be enough.
I grow more and more suspicious of the political powers that take men away from their work and set them shooting one another.
I was so exhausted after fighting for the project for five years, shooting it was like the Bataan Death March
I've never done so much bloody crying in my life. I was always moaning about how hard it was when we were shooting, how awful I felt.
Writing is so. . . I don't know, it's such a practice, and I feel very unpracticed in it, because I'm not doing it every day. And I really need to do it every day. In other words, you spend all this time writing a movie, and then you stop, and then you're shooting the movie, and then you're cutting, and a year and a half goes by, because in the editing room, you're not writing.
but I know you're the brightest shooting star in the sky - Astrid
It's always challenging when you're shooting a film. Shooting things out of order and keeping continuity on all levels is always for me the most challenging thing.
What we did [shooting "Fences"] was we got young students from Carnegie Mellon, the acting and theater students, and we had them as our understudies. I told them, "You have to be off book and be ready. If Viola [Davis] has to leave you have to jump in. "
I grew up in the South with guns everywhere and we never shot anyone. This [shooting] is about people who aren't taught the value of life.
For me, shooting, editing, and scoring rely on rhythm.
We [ with Emilio Estevez] asked if we could take some things [ in Breakfast Club] that weren't in the shooting draft, but from earlier drafts, "Can we maybe use this?" And Hughes was very amenable to all that. And there was some stuff that I liked, and I said, "How about this?" And he went, "Well, we'll check with Molly [Ringwald]. Those scenes are with her. And if she likes it, fine. " So it was just wonderful. It was great.
While we were shooting the movie, we shot in the actual hotel in Hong Kong where it all went down, the Mira Hotel. Laura Poitras was coming to Hong Kong to do a screening of Citizenfour, and she ended up staying at the Mira Hotel. It was her first time back in Hong Kong, and I ran into her in the elevator. Literally I had just finished shooting one day, and I came back to the hotel and she was in the elevator.
You're looking for the best way of shooting it, but sometimes the best way of shooting it is changing the script.
I don't like to talk about things until I'm on set shooting them because it doesn't feel real.
I literally designed and built the sets myself, and I kind of liked it. I always gave myself eight weeks to do that - sometimes even 10 - and the shooting took five or six weeks.
What your soldier wants - really, really wants - is no-one shooting back at him.
It's a different thing shooting for 10 weeks in India as opposed to on a set on stage pretending you're in India
A critic is someone who never actually goes to the battle, yet who afterwards comes out shooting the wounded.
To bring a child into the world that you cannot feed, clothe, house, and educate is the moral equivalent, in my opinion, of a drive-by shooting.