Best 300 quotes in «shooting quotes» category

The last two days of shooting ('Harper's Island') was probably the most hardcore, the coldest anyone has ever been. It was like your head was freezing, and my motivation for most scenes was, 'The minute this scene is over, I'm heading straight over to that heater to get warm.'

The lowest budget U.S. films are ten times times better (than shooting in Tibet).

The next movie will be in Mandarin. I enjoyed shooting all the Japanese stuff in Kill Bill so much that this whole film will be entirely in Mandarin.

The only way to get out of mediocrity is to keep shooting for excellence.

The night doesn't say to itself, 'Here comes a shooting star to interrupt my peace!'

The problem for independent filmmakers is that huge companies control all the promotion, all the advertising. Hollywood films' advertising budgets are as large as their shooting budgets.

The poetic sensibility was too good for this world, it was best to burn brightly and to die young like a shooting star.

There are all kinds of atrocities, and I would have to say that, yes, yes, I committed the same kind of atrocities as thousands of other soldiers have committed in that I took part in shootings in free fire zones. I conducted harassment and interdiction fire.

To shoot a gun proficiently, including speed shooting, is much less of a skill than typing.

There is a great difference between shooting a photograph and making a photograph.

The whole world is there for you. Gifts will happen, but only if you are patient with life itself, the shooting process, and your own limitations.

They continue to criticize me for my outside shooting, but I continue to make outside shots.

This is my sadness for shooting my friend

There's something about shooting webs out of my wrists and climbing up things that just makes me happy.

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.

Universal rushed us. We started shooting without a script that was totally completed.

Typical news accounts and commentaries about school shootings and rampage killings rarely mention gender.

Usually, when you do a period movie, you just recreate what you are shooting. You don't recreate the way you shoot it. I think I did the same thing here as I did in the OSS 117 movies. I recreated the way to shoot that period, because to me, like what I was saying about the Steadicam, there's no sense to do a Steadicam shot in the 1920s because you have never seen the '20s like that. You can't believe there was a Steadicam in the 1920s. I believe it's a continuation of the OSS 117 in a way but without the irony.

Using the right of veto would be shooting the Americans in the back.

We don't work in the traditional TV format where we're like writing concurrently to shooting. Like, we really view it as a large feature film.

War is only a sort of dramatic representation, a sort of dramatic symbol of a thousand forms of duty. I fancy that it is just as hard to do your duty when men are sneering at you as when they are shooting at you.

We are breaking new ground in the territory of dumb with Shooting Fish. Dumb, but in good taste. Silly, but not ridiculous.

We are not shooting enough professors.

We used to send whole flocks of birds shooting out of our mouths and never managed to grab them by their wings.

Well, I've learned something from Michael Robison just about maximizing your shots. For example, if I'm shooting a scene and someone's driving at the wheel, you could steal an insert in the same shot.

Well, thanks for not shooting anyone, I guess", said Marcus. "My contribution was to somehow refrain from peeing myself. You can thank me later.

We're beginning to find out that many of the school shootings are side reactions to Prozac-like medications. That's a very big hidden factor.

We talked about it. An assistant coach suggested fouling, but I rejected it because I was afraid we'd foul them shooting and get beat that way. Hindsight couldn't have been worse than what happened to us.

We've evolved from sitting back on our tripods and shooting wildlife films like they have been shot historically, which doesn't work for us.

[We were very lucky that Sean [ Ellis ] researched the film [Anthropoid ] for many years.] We sort of piggybacked on his knowledge, and he gave us a lot of materials, which we read. For me, the greatest resource was actually shooting the film in Prague.

We were shooting this movie called "Hardball," with Keanu Reeves. We shot in the city, and I just remember I couldn't really do too much. At 13 or 14, you couldn't go out to any nightlife.

We with [ Marjane Satrapi] always work together on the script which is very important. We even film each other and we start to imagine things so that we are ready, because when you start shooting, it's pretty stressful.

We must avoid however, snapping away, shooting quickly and without thought, overloading ourselves with unnecessary images that clutter our memory and diminish the clarity of the whole.

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.

What does it tell you that applications for guns since the shooting are up 41 percent in Colorado, and that our cameras found about 50 people in line at one gun shop yesterday outside Denver?

What's great is when you're shooting at the same hotel you're living in, you finish shooting, put your stuff down, take an elevator and go to bed.

When I'm shooting, as much as writing, I see edited footage in my mind, so I work that way, and it's economical.

When I'm shooting, really the audience I'm thinking the hardest about is that first test screening audience who I want to like the film and that first opening weekend audience.

When I'm shooting, I just try to make sure I wouldn't be embarrassed of it later, because in Watertown, you don't get away with anything.

When I'm shooting a film, I don't look at playback. I don't go and do a scene and then hurry up and watch what I just did. I never look at it so I haven't seen any of it.

When I'm shooting things, I'm training.

When I was in Vietnam with Jane Fonda, I was shooting a farmer in a field - just a pastoral scene. And while I was shooting him, an explosion occurred right - he blew up right in my lens, so to speak. And he had stepped on a landmine.

When I started shooting speed, amphetamine, when I was 15, almost 16, it actually calmed me down.

When people approach you angrily, you take them very seriously, and, if you're like me, with the faint suggestion that you can be angry too, and that you would like to know what the shooting is about

Without the right marketing metrics, you are shooting in the dark. The only way to know if things are working for you or not is those metrics.

When we're shooting, I commute to the UK, every three weeks or so, and that's hard. That's probably the toughest, physically, on me. It's a much longer commute than I've ever had to deal with. And then, there are the challenges of this particular production. It's not the kind of show that has standing sets.

When you're done shooting, the movie that you're going to release when you're done shooting is as bad as it will ever be. And then through editing, and finishing the effects and adding music, you get to make the movie better again. So I'm really hard on myself and on the movie.

When you're shooting a network television show it inevitably starts airing a few episodes in, and depending on the ratings and the response from the public, you find yourself tweaking your performance or the scripts go in a different direction.

While shooting a movie if I can't find what I want, then I keep going until I find my moment.

While shooting Ten I was sitting in the backseat, but I didn't interfere. Sometimes, I was following in another car, so I was not even present on the "set", because I thought they would work better in my absence.