Top 90 Footage Quotes

I can access footage much quicker, yes. But in terms of living with a film and knowing what’s right, digital doesn’t do that for you.

There is a scene in one comic from the ’60s-’70s where Batman finds a film, a newsreel film, of his father. This newsreel film is from the ’50s, and his father has come to this costume ball in a Zorro costume, which strangely enough looks a lot like a Batman suit in the footage.

One of the great things about The Umbrella Academy’ and its TV version is that there are 10 hours of footage, so characters are a lot more fleshed out and further developed.

The naked mole is, like, the ugliest freakin’ creature in the world. It is so radically, unbelievably disgusting. And the star-nosed mole is also. It looks like it snorted a firecracker. They live way underground, and to get footage of them is basically impossible.

I worked in a post-production facility for television, but in the machine room, so I was one of the nerds, essentially – making sure everyone had their footage in and all of that stuff.

It’s hard for people to understand editing, I think. It’s absolutely like sculpture. You get a big lump of clay, and you have to form it – this raw, unedited, very long footage.

Whenever you went into any place where there was Michael Jackson footage at Sony, it was like going through Homeland Security.

The old footage of my dad, I always knew we were cut from the same cloth, because my dad was such a renegade and always marched to the beat of his own drum. To see where we were both dancing and being silly together, it’s too beautiful for words. I was really happy to have that.

And the Institute sent me a little film footage of Kinsey himself preparing to do an interview for television to talk about his work, so that was quite valuable for me.

The image we have of bin Laden in his final years in Abbottabad is of an aging man with a graying beard watching old footage of himself; just another suburban dad flipping though the channels with his remote.

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.

Golf has always been a part of my life. My parents have footage of me in a walker swinging a plastic club. If I didn’t play golf, I would have been a baseball player. I could sit and watch baseball all day.

Nothing is cut while I’m shooting. I edit between nine months and a year, and usually have around 80 hours of footage I have to get down to an 82-minute movie.

In my short film, ‘Gasman,’ I shot it at a kid’s party. And the kids were just having a party – they couldn’t care less about our film. But that was great because we got this amazing footage where kids were drinking soda and pop or whatever, and getting that sugar high and beating each other up or dancing.

The amazing thing about rotoscoping is that it’s very malleable. Unlike green screen, where the computer subtracts out the background, rotoscoping is an additive technology in that you don’t take anything away from the footage – you add layers on top of it.

It’s a hard thing to legislate. You can’t legislate good taste and you can’t put a number on it in terms of square footage. It’s a question of where individual rights end and community rights begin.

Footage of young people getting shot. That bothers me. It hits a nerve.

I was not born when my father retired in 1979, but I watched footage of his games on VHS.

I’ve been watching a whole heap of video footage of different players on different teams and how different players get the football. But the best way I learn is getting out there and playing.

Very bad roles were coming my way, and I didn’t want to do them. Hence, I was doing small films like ‘Delhi Belly,’ where, though the footage wasn’t long, the role was good.

My brother has endless footage of us as kids because he had a video camera when we were growing up. The trippiest part was my younger self predicting my future path, like a truth-seer.

I started in documentaries, and that was a great help to me with improvisation, because with documentaries, you’re handed a big lump of footage, and you have to shape it and make it into a story – which I love doing.

We ended up with 19 hours of footage and had to narrow it down to an hour and a half. Our instructions were to film everything that came up, including the more mundane moments.

Anyone who relishes art should love the extraordinary diversity and psychic magic of our art galleries. There’s likely more combined square footage for the showing of art on one New York block – West 24th Street between Tenth and Eleventh Avenues – than in all of Amsterdam’s or Hamburg’s galleries.

How could 30 years be the blink-of-the-eye it felt? It was the difference between black-and-white footage of the Second World War and David Bowie on ‘Top of the Pops’ singing ‘Life on Mars.’

At a meet and greet in a nightclub in Texas, a girl who looked about 15 years old gave me a VHS copy of ‘Adventures in Babysitting,’ and she whispered in my ear that it’s really just home movie footage of her dad practicing judo.

I was always looking at footage of dancers from Nicholas Brothers to Ralph Brown to Sand Man to Miller Brothers and Lois, and I grew up looking at old footage.

‘Trumbo’ is conventional in its structure, mixing interviews with archival footage. What I enjoyed most about the film was its liberal use of his own personal letters to friends and family, performed dramatically by well-known actors.

When you’re doing a TV show, it’s not like you just shoot for six weeks and you’re in an editing room with all of your footage. It’s like a guitar or a car, you have to fine tune things. You stop doing what’s not working, you work on what is working and you add things that do work.

My mother tried really hard to protect us, but occasionally, after afternoon cartoons of whatever was on… the nightly news would come on, and I’d see footage from the war zone, and I would hear the word ‘Vietnam,’ and I would know my dad was over there, and it was a very frightening experience for me.

The very first television ad targeted to women was produced by the Eisenhower-Nixon campaign in 1956. It includes footage of a woman supervising her children doing their homework at the kitchen table.

You know, people always think if you start out as a film editor, you shoot less footage. Actually, just the opposite is true. I tend to grab as much coverage as I can because as a former editor I know how important it is to have those few frames.

I was driven to give the best possible performance I could based on the material that was given to me and that material was documentary footage of the President speaking to people.

Before GoPro, if you wanted to have any footage of yourself doing anything, whether it’s video or photo, you not only needed a camera, you needed another human being. And if you wanted the footage to be good, you needed that other human being to have skill with the camera.

People were consuming on average less calories after the war than during the war. Things were still very tough. If you look at the film footage of London streets, even in areas which weren’t slums, there are kids in the streets who are dirty and have no shoes on. It was rough. There was a real edge.

I’m always coming back with too much footage. Most filmmakers do, but I’m always surprised that it keeps happening to me.

Why if I had half a chance, I could make an entire movie using this stock footage. The story opens on these mysterious explosions. Nobody knows what’s causing them, but it’s upsetting all the buffalo. So, the military are called in to solve the mystery.

No one knows if Saddam is still alive. They keep showing old footage of him on TV saying that it’s live. You know, it’s like the same thing we do with Dick Cheney.

‘Teenage Wildlife’ is just epic. It’s, like, five or six minutes long, and it kind of crescendos and builds into this insane vocal of Bowie wailing. I think I would pay $5,000 dollars to see footage of that recording session.

It’s funny; before I started writing professionally, I had a job logging video footage for behind-the-scenes footage for special features.

I go to matches to watch players who entertain. I still watch old footage of Paul Gascoigne.

You start to think in terms of making an album that might be greater than the sum of its parts. It’s sort of like having a lot of footage and then editing it into something that will make sense to a viewer, you know. Sometimes it might involve even working on an older song that might complete that picture.

I love watching old fights. It’s hard to watch the black-and-white footage, although I know about Randolph Turpin and people like that, but I’m talking about Hearns, Haggler, Leonard, those guys. Sugar Ray Leonard, he was way before his time, throwing bolos and all that, those big wind-up bolo shots.

I really like ‘The Three Kings’ DVD. I love that movie and all the extra footage and documentaries.

Before the Beatles, America was musically a very conservative country. You can see film footage of people at a baseball game, they all had hats and ties on, and the women were dressed up like they were going to church. That was the America that I started getting interested in musically.