My first film was very static.
That is one reason so many of the Japanese pictures are not good, they cannot spare all the footage necessary for that bow, which is repeated over and over again.
Whenever you went into any place where there was Michael Jackson footage at Sony, it was like going through Homeland Security.
I started playing around with GoPros on my own to get some cool footage. But it's actually become a big training tool for my team and me.
Steven's [Sebring] presence was not threatening; he told me that if I never wanted the footage to be seen by anyone, he would give it to me. So I had nothing to lose and everything to gain, and what I gained was his supportive energy and the supportive energy of his wife, who was sometimes the one schlepping the equipment or doing the sound.
I have videos of me playing basketball in diapers.
Why if I had half a chance, I could make an entire movie using this stock footage. The story opens on these mysterious explosions. Nobody knows what's causing them, but it's upsetting all the buffalo. So, the military are called in to solve the mystery.
You have to do a show, an interview, you've got to go straight back on the road to another location, make a track and edit things like footage etc. It's non stop. I really respect the hustle and work rate of Chipmunk, as well as N-Dubz and Tinchy Stryder.
One thing that the audience, and perhaps critics, aren't aware of is that, especially in a film like 'Moonlight,' you always shoot a lot more footage than makes the cut of the film.
I film quite a bit of footage, then edit. Changes before your eyes, things you can do and things you can't. My attitude is always 'let it keep rolling.'
I joined 'Meru' midstream after my co-director Jimmy Chin had already filmed the 2008 and 2011 climbs.
You know, people always think if you start out as a film editor, you shoot less footage. Actually, just the opposite is true. I tend to grab as much coverage as I can because as a former editor I know how important it is to have those few frames.
I worked in a post-production facility for television, but in the machine room, so I was one of the nerds, essentially - making sure everyone had their footage in and all of that stuff.
To receive footage that has been shot with editing in mind, it is a blessing.
My job is to find the stories, find where to go, do the research, do the logistics, be there on location, and do as much as possible to get the footage that we need to make an incredible film.
I'm the field producer whose job it is to manipulate the contestants to get them to do what we really want them to do to get the footage to make the show.
