Leonardo DiCaprio 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.

I love having 30 shots of every scene.

I usually do about five cuts as a director. I haven't ever directed a film where I haven't made five passes through the movie, and that takes a long time.

There's the movie you write, there's the movie you shoot and the movie you edit, and often, you find that you're getting the same information out of a scene that you already have and a scene that's actually more powerful, so you have to make the tough decision to take it out.

The thing with TV and filming is the timing is all faked anyway. You do it so many times, from so many different angles. You never really do it all in one go anyway, so they just fix it all in the edit.

In a very real sense, all you do when you're shooting film or television is you shoot a scene, and then you shoot another scene, and then you shoot another scene.

Half of 'Mudbound' were shots I stole in between other scenes.

It's very rare to watch a movie and think, 'That's the movie we shot!' So many things happen, with edits and things getting cut out.

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.

You do need to edit yourself as you shoot because you have fewer options in a smaller movie. In other words, when I'm shooting a big movie, and I got an 85 day shooting schedule or more, then I'm saying I have enough time to shoot option A and B and C and D for every scene.

The only reason for using another cut is to improve the scene.

I'm in awe of directors like the Coen brothers who can shoot their script and edit it, and that's the movie. They're not discovering the movie in postproduction. They're editing the script they shot.

I have no control over a film. I don't know what will be left on the cutting floor.

I love directing more than anything in the world, and I love being in the editing room. I love cutting. When I'm shooting, I cut it in my head anyway. That's not to say that it always turns out that way, but you have a sense when you're composing a sequence or a scene how you want it to look anyway.

Fundamentally, I always find that most of the films that I've put out are essentially the director's cut. Part of the process with a director's cut is the leaving behind of certain aspects of the movie that we don't feel necessary because they aren't part of the dynamic of the story.

I don't shoot movies quickly because I get a lot of coverage and a lot of angles, so we have all the pieces in the editing. I do a lot of takes, but it's because I'm looking for something.

Every single director stops at the moment he thinks he has the shot. Sometimes, directors shoot an establishing shot where everything is in the shot. He's going to use this at the beginning and the end.

Every film requires a different process. You learn about these particular actors and the particular chemistry between these actors. Recognizing when you don't need to shoot a scene because it's going to be cut anyway.

Going to directing wasn't a reaction away from acting as much as it was a move towards something I always wanted to do. Ever since I was a kid, I was interested in the camera and how it worked and why one director would place it in this part of the room and then another would place it in that part of the room.

When you do a movie, you shoot, and then you go away. A lot of the times you walk about from the movie, you say, 'Oh, I get that scene now... Oh, that whole ending - I wish I could have done another shot.'

You can do 12 great takes, but if the director is no good, he'll end up picking the wrong one.

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

A lot of directors, they don't go into the editing room during the shoot. When they come back, they've forgotten what they've shot. That's why their films come out a year after they shoot them.

A film ingeniously directed does indeed give the impression of having been laid end to end, but a film ingeniously edited gives the impression of having suppressed all direction.

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.