Quotes About Cinematographer

When I was in college, I wanted to study film. My first passion was to be a cinematographer. So maybe there's something innate in my music where it partners well with images.

I have a lot of influences. I like to sit down with the cinematographer a month before, and we'll watch pieces of 20 or 30 movies. You're basically the sum of all the experiences you've ever had, and they're sort of shaken up in you and reproduced in the things you create, and that includes seeing movies.

I was interested in photography from my college days and wanted to become a cinematographer.

I don't know one lens from another. That's not my job. It's the cinematographer's job. But I can talk to people.

Laszlo Kovacs was marvelous. He was very much in the same school as Bill Frake, who was, of course, a great cinematographer as well. They had a very similar style and similar sensibility.

I thought of learning cinematography, so I assisted a cinematographer for an ad.

In comics, the writer is also the director in a certain way. So if this were a film, you wouldn't tell the cinematographer to make a good fight scene while you go and get a cup of coffee.

As the cinematographer is usually more visual than the director is and full cooperation is really the answer and to make a great film, you need a good director and you need a good cinematographer.

I had done it all in my career. I always felt, as a kid, that that's what a director needed to be. Hitchcock could do anything in my mind. He's the director. That person has to be the best actor, the best designer, the best cinematographer. Then I came to realize that isn't the case. You just need to surround yourself with the best.

An action choreographer is kind of like a dance choreographer. You choreograph the moves and you let the director, cinematographer take into positioning their cameras.

The eye solicited alone makes the ear impatient, the ear solicited alone makes the eye impatient. Use these impatiences. Power of the cinematographer who appeals to the two senses in a governable way. Against the tactics of speed, of noise, set tactics of slowness, of silence.

I was the one who kept telling my second husband he should become a cinematographer. I paid for him to get his director's card, and he went on to make 'Godspell.'

I've got to give a lot of credit to my cinematographer, Chung-hoon Chung, who is a master and among other things shot 'Old Boy,' which is a very famous single-take fight scene. He's really a true master.

I really think of myself just as a filmmaker.

The biggest challenge of any cinematographer is making the imagery fit together of a piece: that the whole film has a unity to it, and actually, that a shot doesn't stand out.

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

A lot of times, I'll resist the temptation to visually define a movie until, one, I really understand just what the movie's about, and two, until I start talking to my cinematographer.

It was cinematographer George C. Williams who first told me about 'Sakhavu.' He said that the script was good and asked me to listen to it. Later, Sidhartha Siva called me and narrated the script over the phone.

My main goal was to be a cinematographer. I was making short films, and the plan was to keep uploading them on Twitter and build a fanbase there. One day, I just started making music for fun. When I made 'Dat $tick,' it blew up, and I saw the potential in that.

The way you present a stunt is tied in to the way you photograph it, so you're hanging out with the cinematographer.

I think the responsibility of writers is to convey the feelings that exist in the moment, the moment of that sharp and immediate pang of sour smiles when your heart suddenly starts pumping ice through your veins and becomes difficult and visual perception takes on the appearance of cinematographer on Cops, with unsteady frames and jostling scenes, running through a backyard chasing perpetrators.

A lot of the time with an independent production, you go onto the set, and you rehearse it in front of the crew, and at that point, the cinematographer takes over. You start accommodating the camera instead of the camera accommodating you.

I was very glad later when I was directing that I wasn't in the hands of a cinematographer and hoping that he would do it well. I would know what he was doing, and we could discuss how that scene would look.

Being a cinematographer taught me a lot. I got to expedite the visions of many directors and learned how to navigate many styles and worlds.