Georgia May Jagger Quotes

To this day I over prepare. I draw storyboards for every scene - chicken scratches so crude that they amuse and horrify the crew. I send out shot lists, act out the scenes, and search for a theme that I can relate to. It's my favorite time of the process.

I always start drawing any job by planning out to some degree the locales and trying to nail the characters. If they're existing characters, I'll draw them several times on rough paper just to get a feeling for them. The ideal when you're drawing a comic is to have everything in your head, not to have to refer to notes.

I prepare for a shoot by saturating my brain with images that have different moods or expressions.

I really don't storyboard unless it's an action sequence of some kind, but I plan carefully.

I carry a notebook full of sketches of pictures I want to take - they are really scruffy sketches, but at least I am going out there with a clear objective.

It's weird - on almost every film I've worked on, the first sequence we storyboard ends up being the first sequence that goes into animation, and ends up being almost shot-for-shot the same.

I do a lot of decision making before each shoot. It's a luxury to be able to choose what you do.

I don't storyboard like some. I mean, all directors are different. I plan meticulously - really meticulously.

To get the film in your head on the screen, first you have to take it out of your head and explain it to everyone who is working with you. This will take work and planning.

I definitely storyboard, but I only start once I have cast and location. I like to find the world first.

Every aspect of filmmaking has lured me. Although I'm an actor now, one day, I'd like to direct a film. It's not as though I'm all set to take the plunge; I cherish this dream of calling the shots, but only after I groom myself with the right kind of preparation and the technical know-how.

I think with any movie, directing is more in the preparation. You just have to prepare for everything that's going to happen.

Nitesh Tiwari is so particular about his pre-production, where he plans every aspect of his film.

Typically, whenever you're envisioning how you're going to shoot something, you have a location or a set that you're going to build, and it's going to be built to specifications.

I roughly draw the scene beforehand to be more confident on the set. Instead of talking and explaining certain things, I try to visually communicate the scene to my team with the story board. This is how I work.

Cinematography was incredibly foreign to me, so I read as much as I could about it. Once I figured out that it was just photography with a set shutter speed, I got some slide film and I just went about storyboarding the script and taking snapshots. I took a ton of time doing it just to make sure I knew exactly what I was doing. By the end of it I knew what the film was going to look like - my exposure and the composition and everything. I wasn't scared of cinematography anymore.

I have always meticulously storyboarded my films from beginning to end.

You could get in rehearsals, pre-production, anything that would actually contribute to the understanding of how a film gets made. I actually find those things increase people's interest in a movie and like that better than worrying about showing the tricks behind the curtain.

I worked with Steven Spielberg on 'AI,' and his level of preparation was extraordinary. He told me there was a time at the beginning when he was a bit more spontaneous and went over budget, and it absolutely wrecked his head. When you look at the power and assuredness of his movies, it makes sense that he works out so much in advance.

You will find hardly any improvising on camera anywhere in my films. It's very structured, but it's all worked out from elaborate improvisations over a long period, as you know.

I like hanging around the set and learning how people do things, how the set runs.

The more work you put in on your outline and getting the skeleton of your story right, the easier the process is later.

From the beginning, we were prepared, we know how we would shoot and cut the two versions.

I enjoy setting the scene and coming up with interesting frames. 'True Detective' was a very hands-on set.

In film, I find it very useful always to do some preparation before you start rehearsals or start shooting, because there's so much that's against you on a film set.