Emilio Estevez Quotes

Every scene is a challenge. There are technical challenges, but often it's the simplest challenge where you feel a sense of achievement when you pull it off.

Stunt coordinating is a good training ground for directing because you have exposure to all the departments in film.

Every cinematographer I worked with had his own way of solving problems.

I love working with directors who have good taste. It's incredible when a director can say something and things open up for you. I went to The University of North Carolina School of the Arts, and some of my best experiences on sets have been working with other alums.

David Boreanaz is actually a very good director and he directed one of our episodes. Excellent director, knew exactly what he wanted. We never had long days with David. He was great, he knew exactly what he wanted and he's a fantastic director.

I like to work on a number of things simultaneously. If you're working on a variety of projects and if you get stuck on one of them, you can move to another without grinding your gears indefinitely.

I make film to make time pass.

I teach film directing, inasmuch as you can. It's not really possible to teach film direction, but I sit there as a sort of testimony of experience and know-how, I suppose.

The first scene I ever shot for 'Louie Bluie,' on that first day, I had never seen the camera before. I didn't know where to put it. I just knew what was strong about these guys and what I wanted to capture, so I tried to work backward from there and figure it out. Trial and error. Hopefully I got a little bit better at it.

I don't storyboard, and I don't really shot list. I let the shots be determined by how the actors and I figure out the blocking in a scene, and then from there, we cover it.

There are times when I am directing, and there are a couple of moments I didn't get the way I wanted, but I know I still have other angles to shoot and I have to be done by noon; I move on.

Every movie presents unusual challenges, and I like solving the problems with a combination of artwork and engineering.

One thing I learnt was that you don't have to spend all day shooting: you can get it done in half an hour if you're that talented as a cameraman.

Shooting on film is great because it imparts discipline: What do you need to see so you're not finding it in the camera. When I'm shooting, I have the scene in mind, where I'm going to have certain lines. I learned to overlap and to shoot more than I think I need. That was the learning curve.

I don't cover my scenes. We approach it visually. Sometimes we go out of our way to do awkward blocking so that we can tell whatever the emotional heartbeat is of that scene in the most interesting way possible.

I've learned more, and I understand the process a bit better now. I can try to see how long I want to take in each aspect of the filmmaking process, and then arrive at around the two-year end mark.

I enjoy logic and logic puzzles. And filmmaking is one fun logic puzzle that you gotta win.

In the ordinary business of life, industry can do anything which genius can do, and very many things which it cannot.

Emma McChesney was engaged in that nerve-wracking process known as getting things out of the way. When Emma McChesney aimed to get things out of the way she did not use a shovel; she used a road-drag.

I care about being creative and productive.

The skill-providers want to have more impact and solve problems; the problem people want new tools to get their problems solved.

Everything important I learned, I learned as a dishwasher.

The day you step on the floor the meter is ticking and time is of the essence. You can't really afford to not know what you're doing. So I think the screenplay is a great tool to get everybody on the same page.

The infinite we shall do right away. The finite may take a little longer.

We have relatively little time and a whole lot of curiosity, so the most efficient way to get there is what we do, and that often happens to be some form of science.