You have to learn to express differently. Whenever I do TV or film, I ask if I can see the shot to see, to see if it's full body or a close-up. That helps me understand how to communicate.
It's just a dream of the struggling actor to just have a proper shot - not just in a film that people will see, but with a character that's rich and complicated and that you can show you're capable of taking on.
If you check your ego at the door when it comes to comedy, you've got a pretty good shot at making a great movie that you can commit yourself to, you can jump off the proverbial cliff with, and have a great time, and the audiences respond to that.
I didn't go out shooting for anybody in particular because I shot for everybody unparticular. I make records for Muslims, Christians, rock 'n roll kids, skateboard kids.
My making it is a combination of grinding, grinding, grinding and being lucky enough to finally get a shot.
I never really looked at myself as a scorer, but if the shot is there, I'm certainly going to take it.
'Dirty Jobs' is maybe the simplest show in the history of TV, with the possible exception of 'The Gong Show'. I go around the country; we've shot in every state. And we spend a day with people who do jobs that are dirty or dangerous or ridiculous or difficult.
What happens so often as an actor is that you retain the information about the scenes that you yourself shot and you obsess over certain scenes that you found the most challenging or interesting. The rest of the film kind of falls away in your memory or it fades a little bit.
That is the definition of equal justice under law: everyone gets a fair shot, everyone pays their fair share, and everyone plays by the same set of rules.
The sun would come up over the ocean, and we'd be eating scrambled eggs before we shot some stuff. It was a vacation in the sense that it was the best working conditions.
Every single director stops at the moment he thinks he has the shot. Sometimes, directors shoot an establishing shot where everything is in the shot. He's going to use this at the beginning and the end.
No, 'F/X 2' was a job. I enjoyed doing it but that was definitely a job. I wrote that, I didn't direct it but 'Candyman' and the earlier horror movies I made, I was completely into horror and suspense and always have been. It's informed everything I've done, even the way scenes are shot in 'Kinsey and 'Gods and Monsters.'
All of my life people have thought of me as Bing Crosby's daughter. Now they'll remember me as the person who shot J.R.
If I have got a swing, I have got a shot.
Raft told me how to walk with him in a scene: We'd start off in a long shot normal, and about the time we got together in a close-up, I'd be bending my knees so I'd be shorter.
Every kid coming out of Harvard, every kid coming out of school now thinks he can be the next Mark Zuckerberg, and with these new technologies like cloud computing, he actually has a shot.
If you got the DVD you can see that George Lucas has taken that person out, as well as the voice, and we shot this scene when we arrived in Australia during the actual filming of Episode 3.
'Con Air' was kind of a turning point for me, in my mind. I never shot anybody in that movie - I never did anything bad - because there were so many bad guys in that movie. I said, 'The hell with this, I'm just gonna be a lovable guy.' I'm like Steve McQueen in 'The Great Escape.'
With 'Brick,' the style with language and the way it was shot was to create a world obviously elevated from the very first frame above a typical high school.
A perfectly straight shot with a big club is a fluke.
You know how you smoke out a sniper? You send a guy out in the open, and you see if he gets shot. They thought that one up at West Point.
I knew that it was my only shot to be taken seriously in the recording industry, because it's fast and broad.
We shot the video for 'Broken' where both my parents grew up. There was always a strong sense of serving our country in the neighborhood - my father and all my uncles served, and most of them enlisted.
Is fuel efficiency really what we need most desperately? I say that what we really need is a car that can be shot when it breaks down.
It's funny how all of this has worked out - I wasn't popular in high school, but now every drunken guy in the United States wants to be my pal. They all want to buy me a shot, and pretty soon I'm throwing up.
Most of my images have been done in-studio, under very controlled lighting conditions. There have been a few that have been shot in nature, but even then they were shot almost exclusively at night, and again, under controlled lighting conditions.
As far as I know, you only get one shot at this life. It only goes round once and time is precious. When I'm not working, you'd better spend that time with someone important.
Every shot feels like the first shot of the day. If I'm on the range hitting shot after shot, I can hit them just as good as I did when I was 30. But out on the course, your body changes between shots. You get out of the cart, and you've got this 170-yard 5-iron over a bunker, and it goes about 138.
You shoulda shot that fella a long time ago. Now he's too rich to kill.
My shot selection has to be good to score big runs.
We've had drive-by shootings. I've been spat on, slapped, shot at. One guy tried to stab me with a broken beer bottle. But the way we look at it, if people do the worst they can, we'll still wake up in glory.
I was 22 and had worked on Wall Street for a year, and quit my job. I bought a motorcycle and sort of had this fantasy that I'd go cross-country like 'Easy Rider.' I went from New York to L.A., and on the way back, I stopped in Chicago and saw a friend of mine who was into improv. And I figured it might be fun to give it a shot.
Some day we're gonna have interactive television where you can pick the shot that you want. You can watch defense, or you can watch the end-zone shot, or you can watch an isolated shot of Terance Mathis or whoever you want to. Because right now, the only thing that you watch is what the producer or director decides to show you.
I'm a crack shot and I've won medals for shooting. But I don't think I could shoot a person.
We're all screwed up. And the way Christians mess things up is we act like we've got it going on. And if we would just stay in that place of, 'Hey, we're all screwed up and but for the grace of God, none of us have a shot here.' We need to have a sense of humor about it; that's kind of the way I've always faced my comedy.
They want to let the audience figure things out and let the reaction shot get the laugh.