Henry Ian Cusick Quotes

All my films are shot on hand-held cameras. These cameras took five years to build and had to be light enough to be carried.

I was lucky enough to go to an all-boys prep school in upstate New York that had a film program, so we had access to 16mm Bolex cameras, Nagra sound recorders, Arriflex cameras. We even had an Oxberry animation stand!

Motion-picture studio floors used to be all wooden and not smooth at all. This was difficult when moving a camera around on a dolly.

You shouldn't dream your film, you should make it!

I don't get tripped up in technology. I use technology as a tool. 'Oldboy' we shot Two Pro 35mm. For 'Da Blood of Jesus,' we shot digitally. We shot the new Sony F55. It's a 4K camera.

I'm really into acquiring film paraphernalia - that's my hobby. I love old movie posters, cameras and film reels.

On a studio film, you don't have to worry about running out of film or messing up your costumes; you have five other sets of it. Studio films make you the most comfortable so you can just act.

The IMAX cameras are big and heavy. And they're loud. So you have to be mindful of whether or not they're worth it; I'd say the image quality is incredible and the scale is amazing.

You were up at 5 o'clock in the morning, and then you'd ride in a caravan, because we didn't have big movie trucks or trailers that is the hardware of a movie camp.

In our home we have many movie props from old film productions.

Cinema is about transferring thought into action.

We build camera rigs tailored specifically to the story we're trying to tell or the shot we're trying to capture.

It was really fun to work on 'The Predator.'

I wouldn't necessarily recommend shooting a feature film on a still camera.

There was a 3-foot-long model that was built for 'New Hope,' and then there was an 8-foot model that was built for 'Empire Strikes Back.' The 8-foot model and the 3-foot model are kind of different. A lot of the details are different between the two of them.

I'm not really attracted to action sequences, because my experience is that it's quite a slow process to shoot them, and often we're not involved as actors.

Even back in the '90s, I shot certain things on something that wasn't digital then, but it was on VHS with a smaller camera and we would up it to film.

In "Virginia Woolf" I had a thing which the grips called the paraplegic which was a wheelchair thing that I had made up years before where I could stand on this bicycle-like device and be pushed down the hall, and then step off it with a handheld camera.

I spent five and a half years in prison. The worst part was coming home and finding out Green Acres had been cancelled. What the hell was I fighting for?

To make a movie about mayhem, sometimes you have to go to mayhem.

The way I see it, I belong to the film as any other department.

The helicopter was a U.S. Navy helicopter. There were no civilian helicopters available to film companies, so they just made some stuff out of two-by-four wood. And I would straddle a two-by-four out from the helicopter with a camera and what we call a high hat, which is a low metal stand.

Working in 3D I didn't experience much of a difference, except that the cameras are very big so they can't be moved around with as much ease. It was more like, when you've seen photos of cameras from the 1930s being moved around with these huge cranes. So there was something quite sort of old-fashioned about it almost.

The process of making films is so technically demanding that it's a distraction. You don't spend your time thinking about the philosophical content, which is often very depressing.

I always say to people when I'm trying to get something going, bringing on other producers or other directors, "You can think of 95 reasons why not to make a movie. You've got to address why you want to make the movie and get it done. Just do it." I tend to live by that rule.