Jon Favreau Quotes

I've done all sorts of different kinds of action. We did a thing in 'Blood Diamond,' the attack on Freetown, where I carefully staged the action but did not show the camera operators what we were going to film - so it has the feel of documentary, trying to capture something, and that gave it a whole different feel.

I did green screen for the first time! I wouldn't like to do a whole movie of green screen, though. You kind of forget the plot a little - like being in a Broadway play and doing it over and over and forgetting your line halfway through.

I like to give dimension to shots inside action scenes. It's demanding because you have to rehearse a lot of things happening at the same time and frame all those things in a shot. But I feel like when you accomplish that then you've got a cool action scene.

I don't look at rushes, or I don't go to the dailies. I don't even really look at playback... unless it's an action scene or a move that I need to do better, something like that.

I think the Matrix effect is over-used and I don't do it anymore.

You can't really do a big character in an action film; you're already suspending your disbelief in the action, then to suspend your disbelief in the character is too much.

If you know how to shoot a scene, then you know how to shoot an action scene. If you've seen an action movie, and you watched it, and you paid attention to how scenes are constructed and where the camera is and how the camera moves, then you know how to do it.

Animation is my love, but I think there's definitely room in live-action. I mean, 'Iron Man 2' was fun, and I got to see that world.

I insist on doing all my own film stunts, although they are often worked out in advance by a stunt man who then advises me on the best and safest method of performing it.

'Mayabazar' was the film I immensely loved as a kid. Only when I became a filmmaker about 20 years later did I realise its technical marvel and what a great epic it was. I and my visual effects supervisor, while making 'Yamadonga,' took two days to understand the magnification shot of Ghatothkatcha's persona.

Sometimes there are people who don't know how to make action movies - and that situation isn't a good one.

I used it in a shot where Richard Burton goes down the hall to get a gun in a closet. And I wanted to get some excitement, and the hallway was too narrow for the dollies that they had at that time. So it was quite useful.

I went for a more classical approach to filmmaking with lots of dolly, track and cranes, and slightly slower, more choreographed fight moves, so you get more fight moves in one take.

I had a rope around my waist, and the rope was attached into the helicopter in case I fell off. And the shot was a shot that began with Kim Novak going out of a house and getting into a bus. Then it was supposed to go over the countryside and find a freight train on which Bill Holden was standing. And then after seeing a good look at the freight train, the camera was supposed to move up into the sky for the end credits.

I think you can say a lot with the movement of your camera but you can also say a lot by keeping it still.

Working with a green screen is so different than working with another human.

I prefer to work the old-fashioned way. I trie to do everything or most of his action sequences practically, because I feel that while added effects or the VFX process allows for flashier sequences, I feel that it lacks the energy we see in practical effects.

My favorite films are when all of the technicalities are so seamless and so well done that I'm not thinking about them - you're able to go full-on into the story versus talking about edgy this moment was.

I'm not a great fan of green screen. It's not much fun for actors. It's great for directors and technical people and cameramen.

I'm a film geek man. I love toys. I love everything in filmmaking, so for me to just be around this technology is just so cool to watch it being used for the first time, some of the stuff.

I was known for a while for doing very long takes, especially after Atonement.

I remember coming on my first set and it being a playground of things I wanted to ask questions about: cameras and lenses and what the lenses do, what's the focus puller doing and how does that work? Why is there less margin for error when there's less light? I was always asking questions and watching directors closely.

I do think that as I said before the canvas of action sequences and the way in which the sequences unfurl will be very unique and will be different than any movie we've made before, and that's what makes it interesting, what makes it [Doctor Strange] special, and what makes it worth pursuing, and worth bringing to life for the first time.

I never really understood how movies were made, because it was such a technical accomplishment.

I believe that the physical effect, the physical set, whenever you can, is ten times better than the digital effect.