Bob Newhart Quotes

TV, it's a director's medium, and they wanna make it look interesting. To be rehearsing mostly for the sake of where you're standing so they can do the lighting, that's what I don't like.

I was really nervous working with actors, since I come from a photography background.

In TV, you have no time and sort of just carpet bomb the scene with as many angles as possible as quickly as possible and find it in the edit.

On TV, you have wardrobe fittings, you have four cameras on you at all times, and you're worried about your angles and your lighting and your shots.

You get some directors, and I can never understand it - there's a thing they call the 'video village' where all the monitors are, and you've probably seen it on set visits - I hate that! I never, ever like sitting in video village. I get either my own monitor or a hand held monitor, and I stand right by the camera.

Shooting a film with seven to eight actors together is complicated sometimes because you have to cover everybody.

I think directing is something I would really enjoy.

Some directors are interested in acting, and others are only interested in cranes and moving the camera.

I love the visual medium of film and TV. I love the science of it, working with the sound and the lighting and every aspect.

I like to work, and I worked for years as a camera person before I directed.

I love editing. It's one of my favorite parts about filmmaking.

I still don't know much about directing a movie.

I am much more involved in the filmmaking experience on Mag Seven. I'm much more involved in story elements, casting decisions, the writing of the show, the blocking of the scenes.

To make films is as boring as watching paint dry - you usually have to do little tiny bits here and there. You go off waiting for lighting, you come back - the energy dies. You hope you can find someone who can keep it going.

Television is such an evolving medium. 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.

When you make documentaries or short films, you have to have eyes and ears in the back of your head and on the sides and all around you. I like that in my films.

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.

Once I went to film school, I realized that film directing was actually much better than theater directing, because you kind of get to stay in control of it all the way through. You don't relinquish the piece to the actors like you have to in theater; you stay in control through the very end.

It's just hard for a multi-camera show: Either they hit big, or they don't.

The thing about the four-camera shows is that it's kind of a great combo of theater and film. You have an audience, but you have a camera to capture things, so that's a great thing, too.

A lot of the time with an independent production, you go onto the set, and you rehearse it in front of the crew, and at that point, the cinematographer takes over. You start accommodating the camera instead of the camera accommodating you.

I did an episode of 'Law & Order,' where I literally didn't move my neck because I thought you couldn't move your head on camera.

In filming, you're waiting - you're waiting for lights, you're waiting for people to set things up - and when you're not waiting, you're repeating.

'New Girl' was a wonderful experience, but for seven years, we were shooting single-cam that is not handheld, that is traditionally shot, and they're asking you to improv, and you're on location. It's a real grind.

I hate making TV documentaries.