"You have to shoot really fast, and the faster you go, the more you compromise quality. There’s no way around it, right? Obviously, we have a lot of resources, but it’s brutal. The kids’ screen time is really brutal So the methodology is very specific. You practically have to pre-shoot all the scenes while they’re in class."
"Then they come to the set, stay for an hour and a half, and you have to shoot six setups because they’re leaving again—and then they’ll come back in the afternoon. It’s really hard; you shoot everything out of order, right, because of that kind of scheduling. So the process is really complicated, but I’ve done one now."
"The guys put on a Quidditch game in Episode 7—one I didn’t photograph, but I helped set up—and just from filming the crowd’s reactions to the game, they shot 7 hours’ worth of footage in a single day. There’s just no way to pick out the best moments. No way, no way, no way, no way, no way."
"So I end up going crazy on days like that because I’m like, no, but more isn’t always more, right? It can actually become a problem. And this whole 'don’t cut the camera, don’t cut the camera, don’t cut the camera' no, no, 'keep rolling, keep rolling, keep rolling' was fine by me, but your editors won’t be able to find your favorite take because it’s a clip with 15 takes."
"There’s a process in this whole business of cinema or industrial television. Let’s put it that way, that’s almost suicidal in that sense, because you start producing so much material that later on there’s no way to use it, no way to find the material."
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