Quotes About Cinematic

It's funny, because, yes, there's a Marvel aesthetic, and yet no one ever said to me, 'we have to do a Marvel aesthetic.' So it was probably me more self-policing to make sure I was going to stay inside the box a little bit.

The Marvel characters are all very, very rich.

Sometimes, scenes are great without any music at all.

I've made up little mantras for myself, catchphrases from a screenwriting book that doesn't exist. One is 'Write the movie you'd pay to go see.' Another is 'Never let a character tell me something that the camera can show me.'

When you go to Marvel, they lock you in a room with the scripts; they really are that secretive.

It always amazes me that Japanese comics have, like, 200 pages. How do they do that? They're fat books; it's a whole different kind of comic that's very close to their films. So I'm drawing from that history and bringing it here - bringing it to Katana.

The cool thing is, I was a little nervous about how they were going to handle Black Panther in his own movie, but then when I saw 'Civil War' and just the perfect way they handled him in that movie, it made me even more excited about a Black Panther film.

In Hong Kong, particularly, we craft this art for decades. The action choreographer actually is the action director. He takes over and he choreographs with - by himself or with his team, and place the camera where he feels cinematic effect to bring out that choreography.

And although cars and motorcycles zipped around, all he saw was the girl coming toward him like a scene in a movie.

When you're talking about Tim Burton, you're talking about a guy that has such a visual sense, an aesthetic, a storytelling style. It's like he's got his own genre.

It's kind of the filmmaker's job to use visual, cinematic language in a way possible to tell a story that reaches and touches as many people as possible.

When people think of a Hitchcock movie, it isn't just the visual, it's the sound.

Baz Luhrmann is a very visual director. He needs to see things as they would unfold in his world.

Writers divide fairly cleanly into those who only work through what they hear and those who are more visual. I am the latter, where I lie down on my office floor and play scenes through my head to - cinematically, several times with different elements - to see what works. I can't write a scene until I can see it.

'Sanam Re' is an amalgamation of an emotional love story and a visual treat.

The first time I saw Douglas Sirk was in college. I didn't encounter him on the late, late, late show like a lot of people; people a little older than me, maybe. But I saw him already as someone to take special note of in an academic context in college. I was immediately in a state of visual splendor.

I try to write cinematically. Let me define what I mean by that. First of all, I try to write in a visual way so that the reader can watch a movie in their head. And it keeps moving. I try to structure the stories like a screenplay may be structured.

When I write a screenplay - and I think it's one of the reasons why it was frustrating for me just to be a screenwriter - I'm not thinking of it in terms of words on a page; I'm thinking in terms of visual images - basically, a comic book. I'm thinking of it in a series of shots.

I find movies rely upon dialogue too much sometimes, and you lose the power of what really the most basic cinematic language is, which is the visual language.

As a director, I start with the visual.

It's always a challenge to adapt a novel for screen, a visual medium.

I draw on a lot of cinematic influences like Ingmar Bergman and Wim Wenders, artists who let a story take its time. Comics are a visual medium, and visuals should be allowed to tell some of that story.

What's the hardest thing about making a show like 'Vinyl' or 'Handmaid's Tale' is they are expecting movie-level cinematic quality in every way - from the performances to the visuals and the shots - especially on a show where you are doing Scorsese style.

I purposely try to make my music cinematic. I try to inspire visuals even though I'm only an instrument of sound.