Stanley Tucci Quotes

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.

The long takes process doesn't allow for that many takes. In the past I have shot over 50 takes of different shots. Sometimes you end up using take 64, sometimes take four.

I like a lot of takes. I just go on until the actors get it right.

I studied directing prior to acting and I've done music videos and documentaries and things that were sort of well-received.

There are some scenes that work beautifully in a moving, sweeping master, which is how I like to work.

I don't look at rushes, or I don't go to the dailies. I don't even really look at playback... unless it's an action scene or a move that I need to do better, something like that.

I always try to do more than one or two takes if we have the time.

Arnold and Jamie Lee must have worked over the years with directors that did 50 takes, because I'd get like three takes or so and say, Ok, that's it, we're done.

Writing and directing might be a red herring, and really I'm just re-examining what it is to act, to do it well and do it properly.

All these directors who do different locations forget that one room can be shot from a million different angles and a million different ways. When I direct a movie, I'm going to use that.

I have definitely been curious and involved in the process; even as a young actor. I was always looking at where the camera was, what story it was telling. And as my experience grew, I wanted to know even more.

Being an actor started me writing, and that led to directing.

It depends who the director is you know, I mean Ken Loach for instance. I've done up to 32 takes with him.

I always ask for more takes. I like doing takes, so I'll do as many as I can.

The camera is the slave to the actor.

We have an uncanny ability to make birds do what we want them to do. In Blood Simple there's a shot from the bumper of a car and it's going up this road and a huge flock of birds takes off at the perfect moment.

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.

With 'Trainwreck,' because it wasn't live and we could do more takes, I feel like we broke a lot.

If you know how to shoot a scene, then you know how to shoot an action scene. If you've seen an action movie, and you watched it, and you paid attention to how scenes are constructed and where the camera is and how the camera moves, then you know how to do it.

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

Performing in front of the camera is a different thing, and shooting a whole film is another.

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

I always direct next to the camera and watch my actors, and so you can see the small things that you can't see on the small screen but you can definitely see on the big screen.

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

Scorsese has very defined ideas about how to shoot a scene, and he's an editor himself - we cut together. It means he's constantly thinking about my problems while he's filming.