Quotes from Greig Fraser

I don't love big films for the sake of big films. It's not been a career drive to get to that point.

The 'Batman' franchise is iconic and its a privilege to now be able to visualize it in my own way.

I remember borrowing my mum's Instamatic 110 camera as a kid and doing still lifes of tennis balls and benches and thinking they were going to be something really amazing. They ended up being really bad.

Google Earth has become a little bit of an icon in our society. You get on maps and you wanna see what the quality of the road's like, you go on Google Maps.

I mean listen, ultimately I'm positive George Lucas was inspired by 'Dune' when he made 'Star Wars.' I don't know if that's sacrilegious to talk about, but there are a lot of similarities in some areas, so you could tell he was definitely influenced by that.

As a DP who mostly does features, I'm normally in a director's pocket, 24/7.

On a film, you work with somebody for four months and it's wonderful, but commercials it's like catching up with someone for a beer except you happen to shoot something at the same time.

Everyone knows that a movie is false. But if as filmmakers we give the audience too many reasons to lose the suspension of disbelief, I believe we're working our way down a hole.

This is the good thing about commercials, is one week I'm working with Derek Cianfrance and the next week I'm working with another really good friend.

The film business talks a lot. People talk a lot. There's a lot of chatting. There's a lot of behind-the-scenes chatting. There's a lot of talking before you go and do it.

I did a lot of prep for 'Rogue One' while I was working on 'Lion,' so I could take the skills I learned in India and apply them to 'Rogue' and then take the skills I learned on 'Rogue' and apply it to 'Lion.'

When you have the blue screen, you've got another set of eyes, eight months down the track, designing what you should have been designing on stage with the actor.

Every single discussion I have with a first AD, or producers, is time of day. I can't begin to tell you how many times I've fought for early-morning calls. The light is 90 percent of our job; we as humans respond to light and where it is at different times of day and not only in positive ways.

A lot of the time, what happens is, when you shoot in L.A., you tend to be able to do things faster, believe it or not.

It's been a dream to work alongside the talented team at Lucasfilm and ILM to make advancements and improvements to the filmmaking process to help tell stories more efficiently.

Trying to capture the essence of India is almost like trying to bottle magic, which is hard to do because India is so broad and diverse - it's controlled chaos. But there's spirituality and wholeness to the people.

The real kudos need to go to my family, who have supported my crazy filmmaking dreams - from Melbourne, to L.A., England and the wider world - by supporting my projects and passions over the past years.

There's always the temptation, as a cinematographer, to make the shot look as perfect as possible.

The key is you don't want to control the controlled stuff too much and you don't want to be too free flowing in uncontrolled situations. That can be a contentious issue with some directors. The joy of my career is I've gotten to work with great directors who get that balance.

Looking through the camera lens reduces noise; as humans we see a million shapes, colours and textures. What the lens does, what art does in general, is get rid of all the noise. It hones in and isolates the qualities of a scene.

This is the great thing about my friends over at Lucasfilm: They are so committed to the highest quality product that they allow their DPs to come on well in advance of the shoot.

Robert Pattinson is an incredibly gifted actor. Every role that Pattinson plays is a contender for an acting award.

If you go into a studio without a set effectively, you've got a blue screen. As a DP you have to light it of what you think it should look like. You don't have any reference of what the background looks like. You might have some concepts, but effectively you're lighting it as what you think it should look like.

You first and foremost need to be honest with the script because you don't want to do anything to screw up the basic fundamentals of the story. You don't want to create anything overly dramatic when you don't need to, and you don't want to create anything less dramatic than necessary, either.