Shooting Quotes
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The most important thing in fighting was shooting, next the various tactics in coming into a fight and last of all flying ability itself.
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While we were shooting 'Baahubali,' I had a knee injury, and a few months later, Prabhas injured his shoulder. Those two injuries meant a break of around five months from the schedule. So around that time, I was doing absolutely nothing, and Neeraj Pandey called me with 'Baby.'
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Twenty-nine turnovers didn't help us at all. Shooting 1-for-9 in 3-pointers in the first half didn't help us. But, man, they're a scrappy basketball team. They play in those spurts and that's what makes them good. They can afford not to play well in 2- or 3-minute spans. We can't. We're not good enough of a basketball team to do that.
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Shooting someone point blank still generates an explosion out of the end of a gun, even if the projectile is somehow ineffective.
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Or at least of fending him off for long enough that we can sweep in heroically like the Seventh Cavalry.’ Burning tipis and shooting women and children, I thought.
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Even for an area I know well, I prepare a shooting list of subjects I need.
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There's nothing wrong with shooting for the stars.
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“When I'm shooting in other cities, I'm just trying to make it look like California.”
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Even when a pilot goes, you shoot it in March or April, and then you have to rush it through post-production by May. If they greenlight it, then you go and there's no time to think about it. And then, you've gotta start shooting in July, so you're off to the races.
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As a team, we struggled shooting the ball. We just got enough (points) down the stretch.
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When the shooting ends, I’m left alone – as in the desert.
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I love guns. I love shooting guns.
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When you're shooting 20-odd episodes in a season, the last thing you want is for each script to be the same tone.
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It shouldn't effect my shooting, usually I don't feel it during the game. Now once the game is over, I really do.
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Pick up a camera and start shooting. You need to wade in in order to figure out how to move forward and do something concrete. I firmly believe that a lot dynamic and revolutionary work flows from those who summon all of their personal energy and just go out and make something.
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People don't realize how long hours are when you're shooting a movie.
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In the case of The Thin Blue Line, I was surprised actually by many things. I was shooting down in Texas where the actual killer David Harris lived and I interviewed the town cop. He described these guys as being David Harris' partners in crime and even though they had criminal records and had committed crimes, they sued me! More often than not, the insurance company that protects you against this type of lawsuit will settle it with cash and contest it in a court of law.
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And shooting things in a documentary style was a good way to create tension and energy without money.
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The only way to get out of mediocrity is to keep shooting for excellence.
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Going from a short to a feature is like going from crawling to flying. It's a big jump, really. Everything triples - size of crew, budget, shooting days, the cast. Not to mention the stakes - as a first time feature filmmaker so much rides on this film.
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When a man is shooting a handgun, it's just like he is shooting because that's his job, and he has no other choice. It's no good. When a girl is shooting a handgun, it's really something.
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You never have any idea where your movie's going to go when you're shooting - you're in this little bubble. Everything you care about is getting the next step right: getting the script right, finding the right actors, shooting it.
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Making a mistake means overshooting a scene, shooting too many takes, for instance. Long after you've got it, you just keep shooting.
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I think it's very dangerous for an actor to take shooting too seriously because I think it could really damage you if you do that.
