The wise man should restrain his senses like the crane and accomplish his purpose with due knowledge of his place, time and ability.
I worked with a man named Patty Crane who was Errol Flynn's stand-in back in the '30s in Hollywood.
I don't study films particularly. I plan to direct, but I'm not watching film - I watch the entire film to see how the story goes, but I don't say, 'Oh, so he does a slow pan here, or he pulls here, watch the crane shot, or look at the composition,' because it's got to be my eye.
Nothing prepares you for shooting in the sea. Some days the sea is choppy, some days the waves are long. When there is no wind, it's fantastic to shoot, but your brain is burning because of the heat. You are shooting hand-held and taking a crane on a boat, which is risky since you can get toppled over.
There's nothing worse than an ostentatious shot. Or some lighting that draws attention to itself, and you might go, 'Oh, wow, that's spectacular.' Or that spectacular shot, a big crane move, or something.
By the time I got to 'St Vincent,' I had shot so many scenarios I was ready for anything - I've shot kangaroos, I've shot dogs, cats, crowds, fight scenes, stunts, comedy, drama, handheld, dolly, helicopter, crane - I just felt that there was nothing I was unprepared for.
Monkey: At the first sign of trouble, I'll give you a signal. Ka-Ka! Kee-Kee!
Po: You mean like Crane does?
Monkey: Yeah.
Crane: Excuse me? When have I ever make that noise?
