I always take working out seriously, but before a shoot I do extra sit ups and squats. I also eat more vegetables and drink a ton of water, because it really helps my skin glow.
Everyone thinks with ‘Smash,’ because it looks glossy and big, they think they’re spending a fortune, and they think it’s taking weeks to shoot.
I shoot for ‘Extra’ three times a week, and that’s great for Las Vegas, too. In addition to interviewing stars who are here for shows, parties and premieres, I’ll also get peoples’ reactions to different news items and topical gossip.
I guess my first digital movie was ‘Tintin’ because ‘Tintin’ has no film step. There is no intermediate film step. It’s 100% digital animation, but as far as a live-action film, I’m still planning to shoot everything on film.
If you shoot with a billion cameras, then there’s no perspective. You want to use one shot at a time, so it’s better to discover what that is before you shoot, rather than trying to make something in the cutting room, and then it just becomes generic.
It was interesting to shoot history as it happens, without anyone demanding a huge story.
I was told I was fat in the modeling world, and a director on a shoot told me I needed to lose weight. The J-Lo booty wasn’t popular then, and I wanted to be the perfect Hollywood girl – tall, blonde and skinny. I couldn’t do the ‘tall’ because I was 5’2, and I couldn’t do the skinny, either.
It really is no different in the way that we make records and shoot music videos. I don’t think of the movie as being a great leap out of my current profession.
The grand jury system – not just in Ferguson, but nationwide – needs a hard look. Millions feel that officers who are trigger-happy are handed a license to shoot – based not on facts, but on stereotypes the officers carry.
The worst thing you can do as a comedy director is be on set and think of something ridiculous, or an actor comes up to you with something ridiculous, and you say ‘No, no that’s too much.’ Let’s not worry if that’s too much, let’s shoot it, and then decide if that’s too much when we see it.
If someone were to come from another planet and see the world through movies, they’d think that the world was populated by white men in their 30s who shoot a lot.
It’s so hard and impossible to shoot in L.A. The costs are astronomical.
It’s not about hiding your imperfections on a shoot; it’s about embracing them and being unapologetic about them.
I enjoy shooting. Around where I live, it’s something you do for entertainment once in a while, you go out and shoot targets.
I thought, while they’re up and firm, why not shoot them once or twice.
Americans have a warrior’s mentality, most of them. That’s how this society was built. The fact that you own a gun and shoot to defend your life is a very American way of thinking.
After making a movie, maybe you weren’t able to shoot many of your ideas, because a movie is only 1 1/2 or two hours long, but TV gives you space to film a lot of things.
We’re about to shoot an episode on Air Force One, for instance, and we’re going to take liberties, small liberties, with Air Force One, as we take small liberties with our White House set.
In features, we’re languid: we shoot one or two scenes over, like, three days. In TV, the pace is so different. You’re shooting ten scenes a day, going way into the future or way back into the past. It’s complete madness, and I’m just trying to keep up with this really electric pace.
For a man to strike any women is most brutal, and I, as well as everyone else, think this far worse than any attempt to shoot, which, wicked as it is, is at least more comprehensible and more courageous.
You only have so much money to shoot a movie with.
I was asked about doing a nude shoot for men’s magazine GQ. I thought it was the funniest thing I’d ever heard.
You can’t really measure your game. You can shoot seven under and lose and you can shoot even and win.
Every photo shoot, I’m always asking the makeup artist what they’re using on me, and I’ll go out and get it.
My dad never really played basketball, but now he’s my biggest critic. I come home, and he says: ‘Why didn’t you shoot there? Why didn’t you drive?’
One thing that the audience, and perhaps critics, aren’t aware of is that, especially in a film like ‘Moonlight,’ you always shoot a lot more footage than makes the cut of the film.
‘The Muthaship’ was an experiment. All my friends are working at Endemol, so they just kind of pushed me into it to see if we could shoot a little web series on an iPhone – and that’s what we did: we shot it on an iPhone. So it’s so experiential and so silly.
When California provides the same value as other locations, I’d gladly shoot all my pictures here.
TV is like a school. It is easy to shoot for a film. In movies, you have a definite start and end. You know your character is there for a particular period.
There are some people, you know, they think the way to be a big man is to shout and stomp and raise hell-and then nothing ever really happens. I’m not like that I never shoot blanks.
The day that I ever become hip… please shoot me and put me outta my misery!
The only person I have regrets about is Miles Davis. He and I had become good friends after we did a photo shoot, and coincidentally, we kept running into each other at parties and stuff. I regret not having written a hit for Miles Davis.
I never really worked in Hollywood. Some American producers came to Europe to shoot films with me, so it’s a different situation… It was not my aim.
I drank tea for the first time during the shoot of ‘Premam.’
I’ve been lucky. The projects I’ve gotten to work on are projects I’d want to watch myself. That’s what I try to shoot for.
‘Big Bang’ is very tightly scripted. Because we shoot in front of a live audience, it’s basically like doing a filmed piece of theatre, really.
I think if you try a little bit too hard sometimes, you can kind of shoot yourself in the foot.
‘Race’ is one of the most successful film franchises in Bollywood. So I was really excited and honoured on being approached for the film. But since I was already committed to another film during the same time as the makers are planning to shoot ‘Race 3,’ things eventually didn’t work out, unfortunately.
Just because we’re on schedule is no reason to shoot bad acting. Someone once said to me, ‘You’re inconsiderate.’ And I said, ‘Inconsiderate? Bad acting is the ultimate inconsideration.’ It’s a collective slap to a million faces at the same time.
A career high was when I did a cover for ‘W Magazine’s July issue with Steven Meisel. So few girls shoot with Meisel in their career, and a lot of people had told me I would never achieve that, so it was a dream come true.
We got really close, but it was just too complicated and secretive to shoot at the Met Ball. That would have been the brass ring of ‘Gossip Girl’ episodes.
I’m sort of like Jean-Paul Goude, the graphic designer who used to style Grace Jones and shoot all her visuals, just meaning that I use all mediums in one – music, fashion, and art. I’m hitting it from all angles.
I always shoot my movies with score as certainly part of the dialogue. Music is dialogue. People don’t think about it that way, but music is actually dialogue. And sometimes music is the final, finished, additional dialogue. Music can be one of the final characters in the film.
You’ve got to learn the footwork, the positioning, how to box out, how to pass, how to shoot your free throws. All these things are necessary, not to be the No. 1 player in the world, but maybe you can play against him.
When you have to shoot, shoot, don’t talk.
Women… can’t live with ’em… can’t shoot ’em.
Aim high, and you won’t shoot your foot off.
The commitments, schedule and sponsor appearances don’t change. It gets more busy, because you get more popular, and the more popular you are, it actually gets more busy. They’re like, ‘Yeah, let’s use her, she’s hot right now. Let’s do a shoot!’
It’s hard when you see a scene where it’s raining, and we have the rain machine, and you see it for 5 minutes, but that scene takes all day to shoot, and you do it with rain, and the dry off, and go back and do it again.
In 1979, I moved to England and photographed Joy Division and Bowie and Beefheart. At that time I got images that I felt had that special, well – power is a big word to say – more like intimacy and ambition that outlasted the photo shoot. I felt that they would have a longer life.
Shoot a lower score than everybody else.
We are protecting civilians. We are unarmed. We are no threat to you. Please do not shoot.
The way that I sort of direct the writers is, let’s do the best story we can. Let’s not worry about production issues. ‘How much will that cost? How are we going to shoot that?’ Let’s not set up those constraints on the writing. I don’t think it helps the project to work like that.
It’s just like my dream to shoot things with no consequences.
I want the privilege of guiding the arrows of my children and giving them the exhortations that can shoot them into the high place.
‘Dirty Rotten Scoundrels’ is a good one because it not only turned out, I think, to be a really funny movie but it was also a delight to shoot. We were in the South of France, working with Glenne Headly and Michael Caine and Frank Oz the director – who were just fun.
