Quotes About Visuals

You can have a movie with hardly any cuts, or very few cuts, that is fascinating, you can't take your eyes away from it... Look at some of the long takes in Citizen Kane.

There's a reason people use CGI: it's cheaper and faster. I hate that.

I'm one of the few directors that actually shoots a lot in camera.

It's amazing what you can do without in terms of filmmaking when a story is really important.

I'm a big fan of IMAX/3-D films; I love that whole experience.

I think people remember pictures not dialogue. That's why I like pictures.

I've learned more about directing from five years of television than I could have in ten years of film.

If you look at classic Hollywood films, they tend to shoot close-ups on quite long lenses and the background it out of focus. You know, it's just a mush.

Animation scripts tend to be much more descriptive and are lighter on dialogue.

I love period drama as much as the next person, but there's a tendency to let all of the costume get in the way of the people.

One of the problems I have with a lot of movies these days is that everything is too well lit. In the world of digital creations there is a tendency to show too much.

The computer tends to equalize everything, all the movies are slowly blending together, the way they look.

Alfred Hitchcock had to find ways to create tension without showing it, but now with computer-generated effects you can show anything.

I think that devices like Glass are going to do a terrific job of capturing your first-person perspective. And that's what people first think of when they think of GoPro.

I remember thinking this is everything that England means to me. The huge, flat landscapes with deep reds and greens. Daunting and terrifying and incredible. We should see it more on film, I think.

Pointing and clicking like Annie Leibovitz

The art of the cinema,' Truffaut allegedly said, 'is to point the camera at a beautiful woman.

Lights are to drama what music is to the lyrics of a song. The greatest part of my success in the theatre I attribute to my feeling for colors, translated into effects of light.

A picture is worth a thousand words; a slide show is both.

If I were to take five comic books, from four different publishers and Marvel, and lay them out, even if you didn't know the characters, you would be able to take a look at that Marvel comic and go, 'That's Marvel.' There's something unique about the way the story is presented.

Scale is very easy actually. Put a camera on a jib or a drone and get bloody big shots on big sets, it's very easy. But then you're distracted. If you're looking at the shot, you aren't following the story any more.

When I go on set, it's very important, the lenses I choose, what I choose to frame or not frame and that's how I make my movies.

In 'The Greatest Showman,' I'm back doing VFX myself, allowing me to craft exactly how something looks, one frame at a time.

My position was that the film begins with the first frame and that the film should be doing a job at that point.