Shot Planning Quotes

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.

One of the main reasons I am so drawn to Hitchcock is that he planned his shots way in advance on story-boards, which he designed like classic paintings (he was an art connoisseur). It's why he found shooting on set boring - because he had already composed the film in his head.

The amount of coordination it takes to shoot a television show is mind-numbing. There are so many things that have to be exactly right to create the correct environment for a single shot, let alone a whole scene or the full episode.

Play every shot so that the next one will be the easiest that you can give yourself.

Ask yourself how many shots you would have saved if you always developed a strategy before you hit, always played within your capabilities, never lost you temper, and never got down on yourself.

I plot the par 5s back from the green and make my plan. If I can reach the green in two shots, I'm going to be aggressive off the tee. But if 's a three-shot hole, the goal changes. You want to put yourself in position to hit your favorite shot to the green.

There's a method to the madness in filmmaking, where everything's very specifically laid out, the shots and what they need - but there also can be a freedom to allowing the actors to find genuine moments.

Think of golf as chess. You have to think two or three moves ahead every time you hit the ball. Over every shot, you should be thinking, 'Where do I need to put this ball in order to make my next shot as easy as possible.

I don't want to brag, but I do more homework on the course than any other announcer. I chart the greens to get all the breaks. I walk down into the greenside bunkers. I walk into the fairway bunkers to see whether a player can reach the green from them.

Placing the ball in the right position for the next shot is eighty percent of winning golf.

We always joke now like, you know, the more experienced we get making stuff, we're like, "Never leave set without a shot of each of our lead characters driving in the car looking happy, looking moderately blank and looking sad." Because we know we're going to need these things.

I storyboard every shot of my thrillers in general. I draw them out and do them.

It's just about going out and getting the shot, so I have a great understanding of how to execute it, so that really helps me, and also having a good understanding of all the action that I'm shooting, it helps me in determining how I'm going to capture it.

The way I work is, I always compose a shot list before I talk to anybody, including my DP. So I'll spend a couple months basically creating the movie in my head, so I have a very solid film in my head, where I know every shot, and I know what the transitions between scenes are.

The storyboard artists job is to plan out shot for shot the whole show, write all the dialog, and decide the mood, action, jokes, pacing, etc of every scene.

The whole visual language of the movie is developed way before we get to set. Especially when you're doing visual effects and you don't have a lot of money to mess around, which we didn't, you have to really preplan everything. Pretty much every shot in the film was figured out months before we got to set.

Having been an actor, I always want to leave room for the actors to find their comfort zone, so I don't like to be too rigid in how I plan my shots. It's different if you have weeks to rehearse and you can rehearse on your sets or in your locations and you can plan that out with your actors, but in modern independent filmmaking, you don't really have that time. You have to have a certain level of improvisation.