Jennifer Sky Quotes

It might sound odd, but filming a soap is closer to acting in a play than filming episodic television.

I shoot a lot of film - that's one of the things I try to do, and it's one of the things I learned how to do with Robert De Niro on 'Men of Honor.'

I remember in Shallow Grave I remember a few times when we'd only have to do one take. But when you did have to do more than one, you'd build on the one you'd done.

I don't like, and I've never been very good at, close-up shots. As soon as you have the camera right there in front of you, it feels like you're in a different reality from the person you are acting with; you lose any real connection with them.

I'll reshoot a corridor 13 different ways, and you'll never recognise them.

A lot of actors just do whatever they do, and wherever the camera is, it is. They don't pay much attention, but I always did. I was always very close to the camera crew. They were my best buddies, no matter what movie or show I was doing.

I was mainly a stage actor. I found film acting mechanical, because it was so technical - there was so much technique with the lamps and the movements of the camera.

I've done all sorts of different kinds of action. We did a thing in 'Blood Diamond,' the attack on Freetown, where I carefully staged the action but did not show the camera operators what we were going to film - so it has the feel of documentary, trying to capture something, and that gave it a whole different feel.

For me, there's far too many close-ups in film. They're a television technique.

When you're shooting a TV show, sometimes it's more about, like, the blocking: it's usually - it's really fast. 'Walk here, walk here, walk and talk here.'

I was paying attention to where Steven Soderbergh had the camera and his shots. I was blown away.

When I work, I really try to get absorbed in the character. Unless I want to do something playful with the camera, I'm not too worried about where the camera is or positions.

To do a film with Govinda, who is a legend in that genre, whose timing is impeccable was challenging.

Love scenes in general are the most technical things to shoot.

Look at the opening sequence of 'The Blues Brothers,' which starts at the prison. The way it was filmed, it does not look like a comedy. I thought that was great.

I've picked up so much about the technical aspects of filmmaking and television.

Intimate scenes or a kiss is a very technical aspect of filmmaking. It is extremely mechanical.

Shooting a new story out of order every week is a fundamentally different beast than stage work, where you tell the same story every night from beginning to end.

With film, you stop and go. You have to do 20 takes or whatever.

When you're doing the work, film and TV are exactly the same. TV is just film in reduced pieces.

Honestly, if I could shoot everything in 1:33, I would.

I sort of feel like my job is to be a conduit to opportunities, to maximize the creativity of the day itself - because that's when the cameras are running. That's the important thing to me. Some of these shots you need to think about in advance; you need to have some ideas for them.

I'm very impressed by films like' Whiplash' or what Fincher does, where you get all these different... Where you get all this coverage that's perfectly linked up. I actually find coverage very confusing. But I love sequencing shots because I know exactly where I am.

Here's the thing about standup directing: not that hard. As I said on Twitter one day, or maybe it was Instagram - sorry, I want to keep my platforms straight - it's essentially the same five shots over and over again. Seven if you're ambitious.

Laszlo Kovacs was marvelous. He was very much in the same school as Bill Frake, who was, of course, a great cinematographer as well. They had a very similar style and similar sensibility.