Quotes About Shoot

Oh, yes, well, if he must shoot highwaymen, it's very well, but to leave the poor man dead on the road – though I make no doubt he would have done the same to Vidal, for I believe they are horridly callous, these fellows – but that's neither here nor there. Vidal had no right to leave him. Now people will say that he is wickedly blood-thirsty, or something disagreeable, and it is quite true, only one does not want the whole world to say so.

I don't know how long you mean to remain in Bath, but I trust you are aware of what the charges are in this hotel!' 'Don't give them a thought!' said Miles. 'I won't chalk 'em up to you. if I find myself at a stand, I can always shoot the crow.' 'Vastly diverting, sir!' snapped Stacy

'Dirty Rotten Scoundrels' is a good one because it not only turned out, I think, to be a really funny movie but it was also a delight to shoot. We were in the South of France, working with Glenne Headly and Michael Caine and Frank Oz the director - who were just fun.

I have high heels in my bags if I need them for a shoot. But I like sneakers. I like being comfortable. I like to sit on the floor with my team and work. I don't like to sit in fancy chairs. It's really important to the culture of my company that people understand who they're working for.

At least in films you will go, you shoot for four to five months and then you can take a break. But I know how TV works... the directors are mindblowing, they work non-stop.

There's a tired notion that the photojournalist has to be disengaged to be able to shoot what he shoots, and that's such a cliched idea of what the experience is. Of course they're engaged, and they're not distanced.

If you have script problems and you don't fix them by the time you shoot, your script problems are now 40 feet tall.

The next time you see one of those squirrels go near my putting green, take a gun and shoot it

[Television] is a great medium for writers, because there's just no time for a studio to interfere very long. You write it, you shoot it; it's on TV.

I knew I wanted to shoot in Japan early on. Years ago, we did a Japan segment in "The Community Project," and at the time I felt it was one of the better Japan segments ever captured.

The overall concept comes first and then that informs the product, the shoot and how we communicate it. Everything comes back to the concept. It all gets thought about at the same time.

It's a hard thing to do, to be given a script, and know that you've got to turn up on the first day of the shoot - generally without having had any rehearsal - and present a character. It's really baffling; it's incredibly hard to know how to begin, to approach it, other than just thinking about it.

The things that are hardest to shoot are the things where you want people just to feel very natural, and you want to do love scenes, and you want to do just kids hanging out and trying to get them to relax.

Mostly, I am waiting. Got to finish the edit, I am waiting. Dubbing must get over, I am waiting. Waiting for shoot. Waiting for the set. When you are waiting, your mind isn't relaxed enough to watch a film.

When you conceive the scene, you go, 'That is scary, right?' When you shoot it, a lot of times you're not quite sure. Hopefully what you can shoot is what your conception is.

Danny was surprised that Ellis had let Carl stay so long. But when he thought about it some more, he understood. Carl Sims was Death. In the command trailer, death was contained. But once they put Carl behind that tree in the backyard-with clearance to shoot-Warren Shields was a dead man. This certainty roiled Danny's gut in a way few things ever had

There are things that I will always shoot, but now that the modeling and acting worlds are becoming very close, you can do a little bit of one and more of the other.

There was a Saint Laurent dress that I actually had to hide from my manager. I DJ'd for part of the money, did a shoot and got a discount, and it was still one of my most extravagant purchases. I've worn it loads, even to do chores around the house, so surely that makes it ok?

Many actresses do that kind of shoot when they are in their early 20s but I didn't think I had anything to worry about so I decided to go for it. I was very pleased with the results and it was also nice to surprise a few people.

We had two cameras, so they could turn it on and shoot as much as we wanted. You don't have to worry about wasting money on film. A lot more takes are possible.

The worst thing you can do as a comedy director is be on set and think of something ridiculous, or an actor comes up to you with something ridiculous, and you say 'No, no that's too much.' Let's not worry if that's too much, let's shoot it, and then decide if that's too much when we see it.

We're going to shoot one Polaroid per show. I'm going to sign this before it even develops because I know that once it develops with my signature on it, it's worth a fortune. I'll make this a work of magic warlock art.

We shot 'Telusa Telusa' song in Bolivia. It took us 50 hours to get to the location. We shot in high altitudes, and oxygen cylinders were kept handy.

When I first started in the industry, there were - this is prior to the era of computer graphics and all these digital tools - there were some pretty rigid, technologically imposed limitations about how you shoot things, because if you didn't shoot 'em the right way, you couldn't make the shot work.