Hiro Murai Quotes

I don't like to shoot on sets at all. As much as possible, I try to shoot on location.

It's fun to work on location because you get the look and feel of everything, but it's nice to be on a stage because you can control the elements.

Unless it's a song and something fancy, I would rather shoot on location.

You can't make a movie about the artist without shooting outdoors.

It was important on The Shipping News to have my house far enough away from each location so I had this time in the morning to think about my shots and still remain open to surprises once I got to the set.

Last summer a second unit production crew went to France and shot scenes for several of this season's episodes. They shot costumed actors in and around real castles and landmarks, we couldn't possibly have duplicated here in Hollywood.

'Saving Grace,' even though fictionally it was set in Oklahoma, we shot it right outside of L.A.

Making a movie is difficult enough to sort of have a premeditated length that you're going for. I don't know a single filmmaker on the planet who does that.

Michael would take us on location and see how the colors worked in the forests and fields.

The whole thing about making films in an organic film on location is that it's not all about characters, relationships and themes, it's also about place and the poetry of place. It's about the spirit of what you find, the accidents of what you stumble across.

I film quite a bit of footage, then edit. Changes before your eyes, things you can do and things you can't. My attitude is always 'let it keep rolling.'

No, there are some location shoots in Vegas, maybe four trips a year. It's shot in Santa Clarita, CA.

It's a different thing shooting for 10 weeks in India as opposed to on a set on stage pretending you're in India.

The hardest thing is that I never do anything the same way twice, and when I'm on the air, I'm very unscripted, and I'm very comfortable in that role. So me being scripted is not a comfortable place for me.

I never make films thinking 'This is my film. This right here is undoubtedly Kim Jee-Woon style.' I am not even sure what 'Kim Jee-Woon style' is. When I make films, I never allow myself to make hard-set decisions ahead of time.

I believe that shows should be shot where they take place.

I have always wanted to do a show where I could stay home. When you make movies, you might as well take a dart and throw it at a map.

I really like shooting in real locations.

When you make feature films, you have a script, which is a bible. The final result should be as it was written down on paper. And in documentary, you can write whatever you want, but life brings you situations where you have to be fast thinking, fast moving.

At Pixar, I don't have to compromise at all. When I look at the finished "Toy Story 3," I don't sit and constantly think, oh, the actor was having a bad day, or oh, it rained and we couldn't use that set. The story that I wanted to tell is what is on screen, and I haven't had to compromise it one iota.

I like to use a bit of chaos when I shoot. I think it may be something from the way I shot my first film - I was very scared, of course, and I prepared everything, I wanted to make sure that the characters did the right thing at the right time on the storyboard. But then I realised that in life, there is so much more than what you can predict or write in advance, that when you shoot the story, it's good to leave some gaps where you lose control. I think this combination of chaos and organisation gives a kind of quality.

There were a couple of times where I shot things, or started off in one mode and thought, "Well, I really didn't want to do that." I would just change my mind. And frankly, I don't think anybody really cared. I didn't have some producer that had given me $10 million, demanding results. I could just kind of do whatever I thought was right, and move in that way.

I consider myself an independent filmmaker.

Art doesn't go to sleep in the bed made for it. It would sooner run away than say its own name: what it likes is to be incognito. Its best moments are when it forgets what its own name is.

Every movie I've ever made has just kind of come together.