Shooting Quotes - Page 14

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.

You won't believe how many people have congratulated me around the world for shooting a movie in 2D. It's bizarre. It's the strangest thing.

I'd like to have the script in a much better place from day one of shooting, rather than trying to continue to work on it while you shoot it. I think those are lessons you learn on any film.

You're looking for the best way of shooting it, but sometimes the best way of shooting it is changing the script.

JJ Abrams is definitely a guy that when he calls, you want to answer. He's incredibly focused. When he was shooting the pilot on 'Lost,' we'd do a take and he'd go back to his tent and be working on the first episodes of 'Lost' as well as the cliffhanger for the eighth season of 'Alias.' He's an incredible multitasker.

When you're shooting 20-odd episodes in a season, the last thing you want is for each script to be the same tone.

You're often trying to fix a script by shooting it.

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.

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.

I wrote another wrestling film script. And we finished the shooting [with Lloyd Phillips]. But Henry Winkler came out with his own wrestling film, which did poorly. So the studios passed on ours, and it never got released.

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

...genius is no proof against shooting one's own foot.

I'll take the shooting. I'm used to that. I've been shot a few times in the past, and I guess I can stand it, again.

I'm vomiting days before I start shooting a new movie.

Any time I’m not shooting my mouth off to a clichéd, two-bit creature of the night like you, it’s because I’m up to something.

I'm in the gym pretty much every day. I've been very strict about my diet during shooting. It all helps me bring as much authenticity to the role as I can.

Hell, when I was in high school, a "drive-by shooting" meant somebody had their rear end hanging out a car window!

You can hear my dreams? God, you must never get any quiet. I'd be shooting myself in the head if I were you.

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.

Now that everyone's shooting digital they want the anamorphic to soften the look. You know, to make it more filmic.

Shooting digitally would not have been easier. Cameras are the same size. I always shoot on film unless I have a reason not to, which I haven't had yet.

I just directed another picture called 'American Dream' with Nick Stahl. Just finished shooting principal photography right before I started ['Lincoln'].

I don't know why I just remembered this, and I haven't told anybody this, but we were shooting in Canyon de Chelly and we were so far up the canyon. Once we were up there, we were up there. There was no going back to your trailers.

When you are shooting with a robot you can't improvise. You can't really... the script is kind of the script.

This is a people shooting hat," I said. "I shoot people in this hat.